Statement
The construction of history, the deterioration of memory and objects, and the ways we record our existence are all driving concepts behind my art practice. I choose labor-intensive techniques, such as embroidery and stop-motion animation, in order to exalt the seemingly insignificant or peripheral images that I have meticulously researched and chosen as my source materials. Appropriating images and materials questions the authenticity of the subjects represented; what is more real—the image of something or the attempt to construct the feeling of that thing?
By adopting processes that are both time consuming and require the care of a human’s hand, there is a weightiness added that isn’t felt when looking at machine-made products. The performance of laboring over my constructions for no apparent utilitarian purpose juxtaposes my separation from the production of objects I encounter in day-to-day life.