"Our body is not in space like things … It applies itself to space like a hand to an instrument; and when we wish to move about we do not move the body as we move an object … because through it we have direct access to space. Even our most secret affective movements, … help to shape our perception of things."

--Maurice Merleau-Ponty

Somatic language forms the foundation of our memories, verbal communication, and learned responses. The language of the somatic self is the pre-verbal communication that allows us to make meaning out of our experience. My work investigates this sensory experience, exploring the body as a place from the inside rather than as an object, and that our bodies are carriers of emotion and potency. The self can be considered a mutable reflection of society, a kind of repository of cultural values and a signifier that transmits psychological, sexual, and cultural messages. Recent installations incorporate themes of restraint, power and seduction, loss and desire, depicting issues of the body, as well as the relationship to boundaries we have as individuals. Perception, somatic language, and cognitive response are where I currently focus my investigation.

The Promise, (for five keys) is based upon an agreement of trading one’s body for a tangible object. The configuration of this installation is based upon staff sheet music paper, several thousand strands of monofilament wire reach from floor to ceiling. Musical notes are made using glass beads, an interpretation of a score is depicted. Sacrifice is about a figure, a body, falling to the floor, fading into the background, becoming invisible. In this piece I use the act of drawing in space, using invisible and colored thread, to trace the form of a garment and the motion of a figure. The form represents a column, or torso, and a billowing skirt. In this piece the figure is abstracted to the very limits of readability, avoiding visual representation altogether, depicting neither body or clothes. Violation questions the codes by which we as a culture articulate desire – sexual, material and aesthetic. It is a tangible manifestation of absence, gender, sexuality, and women’s relationships to their bodies. Aware of our own bodily presence, and eventual disintegration, this piece functions in the manner of a repository for existence and memory. Pins are used to trace an outline, once threaded they lie next to each other, connecting but not joined. By utilizing only pins and thread, cloth is never quite formed, and a fragmented reality is suggested.

Previous work examples include Repair, a vintage sewing- machine cast into a two-person sewing- machine, representing internal struggle, relationships and memory. Through connecting two machines duality and symbiosis are evoked, also suggesting the uncanny double of self. The cord of layered intestine refers to accumulated labels from garments signifying life experience creating a reference to ones history through clothing. Past, is a cast- glass installation in the form of a veil, about dress code, social status, and notions of the traditional, protecting the woman from the male gaze. I utilize glass child’s reins in place of the body to represent restriction and repression and the desire to break free from that restraint.

In 2009 I completed a Master of Fine Arts Degree in Sculpture and Art Theory at Pratt Institute, where I spent a semester studying art history in Venice. I completed my undergraduate degree in Textile Design, in 1992, at Nottingham Trent University, England. I have participated in many residency programs including John Michael Kohler Arts Center in 2001, and Pratt Fine Arts, 1996 and 2002, I was awarded an Artist Fellowship at The Creative Glass Center of America in 2000, and an Emerging Artist- in- Residence at Pilchuck Glass School, 1998.

In 2005 I participated in “The Conversation” a discussion class held by curator Michael Govan, artist Robert Irwin and writer Lawrence Weschler, about placement of art, site-specificity, and artists and museums responsibility to the way art is seen and shown. This class had a significant impact on my thinking. My ideas about the value of artwork were redirected away from the object, towards the experience and the subject.

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ARTIST STATEMENT

"Our body is not in space like things … It applies itself to space like a hand to an instrument; and when we wish to move about we do not move the body as we move an object … because through it we have direct access to space. Even our most secret affective movements, … help to shape our perception of things."

--Maurice Merleau-Ponty

Somatic language forms the foundation of our memories, verbal communication, and learned responses. The language of the somatic self is the pre-verbal communication that allows us to make meaning out of our experience. My work investigates this sensory experience, exploring the body as a place from the inside rather than as an object, and that our bodies are carriers of emotion and potency. The self can be considered a mutable reflection of society, a kind of repository of cultural values and a signifier that transmits psychological, sexual, and cultural messages. Recent installations incorporate themes of restraint, power and seduction, loss and desire, depicting issues of the body, as well as the relationship to boundaries we have as individuals. Perception, somatic language, and cognitive response are where I currently focus my investigation.

The Promise, (for five keys) is based upon an agreement of trading one’s body for a tangible object. The configuration of this installation is based upon staff sheet music paper, several thousand strands of monofilament wire reach from floor to ceiling. Musical notes are made using glass beads, an interpretation of a score is depicted. Sacrifice is about a figure, a body, falling to the floor, fading into the background, becoming invisible. In this piece I use the act of drawing in space, using invisible and colored thread, to trace the form of a garment and the motion of a figure. The form represents a column, or torso, and a billowing skirt. In this piece the figure is abstracted to the very limits of readability, avoiding visual representation altogether, depicting neither body or clothes. Violation questions the codes by which we as a culture articulate desire – sexual, material and aesthetic. It is a tangible manifestation of absence, gender, sexuality, and women’s relationships to their bodies. Aware of our own bodily presence, and eventual disintegration, this piece functions in the manner of a repository for existence and memory. Pins are used to trace an outline, once threaded they lie next to each other, connecting but not joined. By utilizing only pins and thread, cloth is never quite formed, and a fragmented reality is suggested.

Previous work examples include Repair, a vintage sewing- machine cast into a two-person sewing- machine, representing internal struggle, relationships and memory. Through connecting two machines duality and symbiosis are evoked, also suggesting the uncanny double of self. The cord of layered intestine refers to accumulated labels from garments signifying life experience creating a reference to ones history through clothing. Past, is a cast- glass installation in the form of a veil, about dress code, social status, and notions of the traditional, protecting the woman from the male gaze. I utilize glass child’s reins in place of the body to represent restriction and repression and the desire to break free from that restraint.

In 2009 I completed a Master of Fine Arts Degree in Sculpture and Art Theory at Pratt Institute, where I spent a semester studying art history in Venice. I completed my undergraduate degree in Textile Design, in 1992, at Nottingham Trent University, England. I have participated in many residency programs including John Michael Kohler Arts Center in 2001, and Pratt Fine Arts, 1996 and 2002, I was awarded an Artist Fellowship at The Creative Glass Center of America in 2000, and an Emerging Artist- in- Residence at Pilchuck Glass School, 1998.

In 2005 I participated in “The Conversation” a discussion class held by curator Michael Govan, artist Robert Irwin and writer Lawrence Weschler, about placement of art, site-specificity, and artists and museums responsibility to the way art is seen and shown. This class had a significant impact on my thinking. My ideas about the value of artwork were redirected away from the object, towards the experience and the subject.

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