I approach each project as the design of an experience. Experiences have different textures: they can be long, short, thought-provoking, excruciating, inspiring or passive. In each project I consider how to challenge viewers to become active participants in the project, whether it is a 2D work hanging on a wall, a computer screen, or a more immersive installation. I am interested in fostering engagement rather than passive consumption. If participants form a dialog (imaginatively, physically and/or mentally) with the project, the project will reciprocate (in its own way) in an effort to nudge the participant to converse more, formulating a unique reiterative experience.
The media and techniques chosen for each project are specific. They are chosen for their history, other uses, gendered connotations, generational significance, cultural associations and the complex context they contribute to the work. I am particularly drawn to sewing for its very feminine and docile murmurs and diametrically drawn to software, for its very masculine, and authoritative overtones. I often use one, if not both, in my work to leverage the power/privilege discourse associated with these media.
projects
I approach each project as the design of an experience. Experiences have different textures: they can be long, short, thought-provoking, excruciating, inspiring or passive. In each project I consider how to challenge viewers to become active participants in the project, whether it is a 2D work hanging on a wall, a computer screen, or a more immersive installation. I am interested in fostering engagement rather than passive consumption. If participants form a dialog (imaginatively, physically and/or mentally) with the project, the project will reciprocate (in its own way) in an effort to nudge the participant to converse more, formulating a unique reiterative experience.
The media and techniques chosen for each project are specific. They are chosen for their history, other uses, gendered connotations, generational significance, cultural associations and the complex context they contribute to the work. I am particularly drawn to sewing for its very feminine and docile murmurs and diametrically drawn to software, for its very masculine, and authoritative overtones. I often use one, if not both, in my work to leverage the power/privilege discourse associated with these media.
Recent Work
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2012. Matrilineage.
2012. Self-Disclosed.
2012. SIGNal. 15 Signs.
2012. Constructagon.
2008-Current. Quilted Consumption.