One of my greatest assets is my material, somatic knowledgeknowing with my hands, my skin, my senses. In my studio practice, I try to learn the space of the body both physical and psychological, through textile production, garment manipulation, and performance.
The solitary, rhythmic labor of weaving is my constant. Like dance, or ritual, it is physical, repetitive and I can access the meditative space that is required to make my work. The structured logic and process of weaving is a framework of limitations which I can access immediately and be certain of productivity. I employ the assembly line rhythm of Detroit house music, materials that echo my textural and psychic landscape, and plain weave pattern as structural elements integral to my process, and reflexively, the nature of the cloth.
Beyond the studio, my research consists of occupying various phases of the commercial fashion chain- from design and production, to sales and marketing, and extending to archiving and curation. The culmination of these experiences enables me to develop models of operation, processes, and build a network of resources in order to realize larger projects and collaborations. At this capacity, my role as an artist is to construct a different kind of fabric--one of ideas and people. I become the thread--mediator, connector, facilitator.