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In my recent work I have attempted to ignore the limiting and
hierarchal labels of “Art”, “Architecture”, “Design”, and “Craft” while still
acknowledging the histories of materials and traditional processes of
making. I continue to ask: who and what do objects represent? Whom do
they serve, and how are they interacted with? The uncanny tangible
results of my efforts combine a variety of elements, materials, and
processes, which create objects whose intentional aspects can change
with differing sites, locations, and audiences. This work has also been
informed by utilitarian modernist ideas, and the structures of modularity
and pattern. I have explored these intellectual interests through many
processes, including quilting the industrial insulation, Tyvek Home Wrap,
which I use to explore notions of interior and exterior domestic space
and gender. Quilting also traditionally combines remnants of fabric to
produce functional works and I have applied this “quilting remnants”
methodology to other repurposed materials, such as fragments of
reclaimed architecture. These are combined with shared parameters to
connect the seemingly disparate castaways. Many of the three
dimensional forms I construct in this manner have been representations
of ubiquitous milk crates. These too often appear in the urban
environment as castaways but they owned by corporations, and as stated
in text on the crates you will be “punished by law for their misuse.” Yet
these are regularly used by the lowest socio-economic strata as
containers for belongings, as furniture, and as placeholders for the body.
They are substantial, resilient and political forms. Milk crates can
assemble, occupy, and resist. This is why I am drawn to represent these
functional forms and make them my own.