Much of my work is driven by material and what it means to destroy and create. I explore the possibilities of re-forming narrative and memory by allowing it or forcing it to breathe into the present. I am fascinated by layers, palimpsests, and the peeling back of the layers to reveal hidden truths.
I am interested in entropy, disintegration and destruction as a site for growth and change. Many times the work has different iterations: i.e. textiles, performance around the textiles and then a different work that is created as an object documentation of the process. My work is driven by the ghosting or the invisible past shining through to the present without words: creating historical context while simultaneously existing in the present.
I question philosophical notions of memory, narrative, history, home, safety, time, movement, and place. I hope that viewing the work provides a site for a face-to-face encounter with the work itself separated from my original intention. The process involves research and investigation into problematic aspects of different philosophies. I like to understand why and how some questions themselves are worthy of questioning. I grapple with the existence of the shadow of the work or the third, invisible other in this one-on-one encounter. And yet while doing this academic exploration, I find that the work lives in a spiritual place as well, one where my own ancestors exist and provide a structure and a frame within which I can create.
Paper without text communicates histories unutterable and the possibilities for different translations is endless. The way messages can be received mimics my understanding of the brains of humans. No one person sees or experiences the same thing ever. We all have our own understanding of what we view, and a “blank” sheet of paper is never actually blank. Embedded in the paper itself is a history of reproduction and varying degrees of industry.
I am a native and life-long New Yorker. My long term background is in acting in NYC experimental downtown theater and new play development. In 2017, I got my Masters Degree from City College in Digital and Interdisciplinary Arts Practice. I found myself gravitating towards paper making when I was on a residency in Mexico and I kept encountering layers of paint peeling from buildings revealing unspoken histories, non-narrative stories. It seemed like this plaster and handmade paper had something in common, and that they contain a host of hidden meanings. Paper without text communicates histories unutterable and the possibilities for different translations is endless. The way messages can be received mimics my understanding of the brains of humans. No one person sees or experiences the same thing ever. We all have our own understanding of what we view, and a “blank” sheet of paper felt like such a strong illustration of this concept. There is no right way to look at a piece of paper, but it is a medium that is both simple and complex, which makes it rife for exploration. It was a refreshing contrast to the digital work that I was learning in graduate school. Book making takes this one step further, both housing the paper and ideas in a container, and becoming its own container for itself as an object.