I am fascinated by problems that arise at the intersections between personal experience and larger social and cultural networks. Family, geography, and social roles continuously demarcate and destabilize one’s identity, which is always somewhere in-between. Some forces are too tangled and undefined but sometimes we find loose ends that can be picked up, followed, and untangled. I am interested in the process of disentanglement as a means of understanding my place in the world.
My process is always closely related to both drawing and to the history of utilitarian feminine craft as a daily practice and labor gauged by the accumulation of repeated form or act. Repetitive and meditative acts, such as wrapping thread, marking tiny dots, or staining and seaming together squares of rice paper, provide a space for quiet, association, and attentiveness. I am increasingly drawn to materials that are not traditionally art media. I choose materials for the histories of use they bear and the associations they trigger outside the realm of art.
This repetitive, materials based approach makes reference to precedents in both eastern and western art, those being Minimalism and Mono-ha. Mono-ha draws on the concept of MA, which defines the distance, or the space, between two points or sounds. Like my work (both formally and conceptually) it emphasizes the in-between.