This Room Contains The Following:

STAGING THE HOME

When a room is staged, the furniture chosen to mimic a home is  thoughtful and performative. There's a supposed logic behind depersonalizing the home, ridding the clutter, and appearing “neutral”. 	

I am dere-cluttering. I am doing the opposite and the same thing. 

The room that holds my  installation is a part of the  completed work: the container that carries my process.

What would be there if each piece existed separately, not confined to a square room?

Working to understand how ideas and artwork build off of each other, I continue to celebrate a practice of asking questions. (ongoing)

What constitutes the beginning and end of work?

What is the shift between breaking and growing? 

Is the material found or made? 

How natural can manipulated material be? 

How manipulated can information be? 

What is complete?

There’s a certain chaos to problem solving and planning   [failures]    to work backwards and forwards.

The act of undoing and redoing to understand is a performance, my work and objects perform with each other.

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BEGINNINGS

AS FLOORS

BRINGS + HOLDS

|Democratic 		use 			of 		materials|

Residue and image

Creating my own	 used material

               Combining spatial and body concerns <how to connect to familiar>

PRACTICAL

Methods of making                                                                                                Relationship Concern [fitting] clothing

SCALE MODEL/LIFE SIZE

MAKING THINGS

copy/mimic language of used things

USE / NOT USE

	#1 WHY

	#2 WHAT

Actuality of the thing, a new thing exists only to be itself

WHAT TO PUT ON WEAVE ON

									don’t remove

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In this confusion, I find myself asking how much information is necessary to draw conclusions from my work. What assumptions are made about artwork based on its material, display, purpose, and labor. 

A weave that stays in its loom, yet interacts with space, becomes a part of this conversation.

What's the bare minimum for something to be a weave, a sculpture, a drawing, a … (		)

The recognizable weave is not the only weave in the room. 

Footprints and charcoal marks linger, wood fuses from the floor(layers in plywood), and scraps of fabric purposefully drape together.			  There is a merging of materials.

With three mediums (of making): wood constructions, textiles/fiber, paper. 

Each builds a foundation for me, a mode to make more out of the blank canvas. A connection to human use, tradition.

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KEY 		a loose framework, a gathering 

||||| Wood 	as manual labor to  provide structure   and  	demonstrate practice	

||||| Fiber 	as care to activate the site  and  connect 	object  and   body

||||| Paper	 as display; fragments — feeble yet firm —   to express information,	 imagery,	 gesture

Of making,	 of making by hand of a legacy of women’s work and craft

The kind of making that cares and builds

I’m trying to hold together the work [labor], but it’s coming apart. Trying to keep the forms on their objects, the textiles on the wood. 

To meld materials and forms, until the work becomes makeshift containers and the objects perform roles.  

I would live in this room.

With love, this work is dedicated to

my mom, Diane

and the generation of creative women before her

Athanasia and Miriam