My work straddles definitions of garment and functional objects. Within these pieces, there is a dance between curvilinear and rectilinear aspects of shape and fabric. I use grids as a grounding, as places where movement is straightforward and simple and when these lines collide with strange and imposing seamlines, past forms of navigation fall short and a new sense must emerge. Curves are often highlighted with thick cording, providing a reliable leading line around the form. Even in the most solid materials, the pieces never cease in their movement. Every angle presents an entirely new composition. Each of these compositions conjures a sense of disorientation as one moves around my pieces. Opposing grids and curvilinear elements induce a new sort of bodily and spatial awareness that shakes the familiarity from conventional movement through everyday spaces. Subversion of athletic conventions appear in exaggerated moments in my work. Representations of rackets or visors, for example, are created through seams, cutting into each other like field divisions. This same undermining of athletic movement is also activated through material choice, particularly in the employment of brightly colored stretch fabric.
My current work grew from an interest in the methods of notating movement unique to choreographers throughout dance history, specifically within the works of Kay Rosen, Lucinda Childs, and William Forsythe. Their methods of remembering dances swings between the active to the static and back again, recalling the dance to recite over and over. This invoked a desire to bring moments within the unfolding of movement into the process of garment draping and for those expanding shapes to act as a type of notation and remembering of a dance. To create these forms, I test the limits of nylon mesh and its form warping characteristics to join two different parts of the body into one, and then two different people into one. Stills of this video are transformed into silhouettes by outlining intersections of the bodies with the angles and lines of my apartment. Poses become pattern pieces, draped to join multiple dress forms into one composition. Dress forms are removed until the draping is one singular silhouette for one body, but remembers the existence of the formation. These methods of draping are the framework for my pieces to exist simultaneously as the record of the creation and the final piece. Movement can be visually unwrapped from the forms, as each angle presents the next movement in the dance. My garments and objects shake space, serving as reminders that we don’t know what a body is.
I am an artist currently based in Chicago, working within and outside of garment and furniture making. My upbringing is imprinted with a plethora of vernacular architecture experiences of the north suburbs of Atlanta and Chicago. Real estate was a constant topic, as my parents both work in many varieties of it. I wondered how spaces directed flow, how movement was considered in the drafting of a floorplan. I also wondered how subtle differences in architecture one experiences everyday translate and engrain into language, movement, and relationships when we are not occupying that space. Methods of movement direction fuel both my life and work, taking influences from my relationship to dancing and running.