The truth is often stranger than fiction. Altering materials I create works addressing domesticity and womanhood where nothing is as it seems. Seemingly normal from afar I use personal and found objects to communicate issues around mental illness, family, gender, and social taboos. I make observations in the everyday, finding the bizarre and absurd in the familiar. I play with materials and find interesting and odd juxtapositions. Hiding and revealing a stream of contradictions. In the studio I make interventions through assemblage and drawing. Sometimes I find the pairing right away, other times the material of interest will sit with me for months before I find its mate. I connect with the Japanese ceramic method and philosophy Kintsukuroi, which treats breakage and repair as part of the history of an object. Rather than the something to disguise, the imperfections of an object adds to its allure, making it more beautiful for having been broken.
Through research, practice and experimentation I have looked at the work of Dadaists, such as Hannah Höch. Surrealists like Marcel Duchamp, Paul Klee, and Frida Kahlo. Contemporary artists and dark humorists like Wayne White, Wangechi Mutu, and Mike Kelley. Confessional artists such as Louise Bourgeois and Mary Kelley. I am drawn to literature, film, music, and comedy that tap into the relationships of attraction and repulsion, dark humor, and the surreal.
Surrounded by mental illness and a dysfunctional social structure I subscribe to the truth that everyone creates and lives in their own reality. I do this work to understand myself and what drives me as a caregiver. To understand that by fixing something you must also deem it as broken. I want the viewer to examine my work and their own surroundings with a sense of curiosity. What is the evidence we leave behind? What is normal?