My work tells stories about the fabric of people’s lives and the rituals created to bring comfort to our lives. I am fascinated by the things (both spiritual and physical) that people cling to in order to find – and define – “identity”. How do we choose what we see? How does this affect what we remember? As families and communities, we create shared folklore to memorialize people, places and events. As individuals, we create personal mythologies to help us contextualize our past and imagine our future. Intertwining these themes, my work similarly enmeshes artistic disciplines in a memory-based, magical realism scaffolded by nostalgia.
I use glass, found materials, beads and food to create sculpture and jewelry, which remain my primary mode of expression. I began beading at the age of five, from which I realized a consistent impulse to create cohesive, sometimes incongruous, mosaics from smaller components. In my twenties, I began working with glass, both blowing and kiln working. My instinct was, and remains, to sculpt and carve glass, creating form from seemingly shapeless substance.
Throughout my life I have been a collector and a hoarder. I am constantly reorganizing, cataloging and creating shrines and groupings with the objects that I find. The found objects I use (photographs, fabric, candy wrappers and other curios) function as artifacts in each work’s constructed symbology, preserved in glass.
I make work that expresses time, conveys history, and serves as a means to preserve perceived memory. The wearable art I make acts as models for my larger scale work; my sculpture becomes a memory of its smaller counterpart. Some of this work is narrative, some decorative, some therapeutic. I am inspired by the labor intensive and ritualistic nature of Prison Art; the philosophy and design of the Bauhaus Movement; the iconography and culture of the United States’ Post-World War II era.