Artist Statement
I’m not a going to church every Sunday to read the Bible kind of gal; my views on religion are a bit different. My spirituality is defined by those moments in nature where a hummingbird crosses my path or a dragonfly lands on my bare body as I float down a river. While tuning into these moments, I begin to observe my surroundings in a meditative way. Meditating on moments of spirituality allows me to focus on self-healing, while releasing negative conceptions of the outside world.
Preserving these moments becomes an important part of my artistic practice. I often collect remnants that are attached to them, such as insect parts and plant life. Each remnant becomes a reflection of the psyche. The artificial objects such as the netting and cloth are in reference to trauma, and by being burned and torn apart, they begin to mirror lack of control and chaos. In contrast to the controlled repetition of piecing together bits of glass and natural remnants, as a means for gaining back control and promoting self-healing.
Incorporating the self-healing aspect of the circle contrasted by a chaotic atmosphere has become a ritual. This ritual allows me to confront trauma while reliving moments of spirituality. These moments of spirituality are enhanced through lighting, creating an interplay between light and darkness. Every aspect of the work becomes a means for bridging together conflicting opposites.
Group 1
The self-healing aspect of the circle helps me to order objects while the burning and tearing helps me to create more intuitively. I often begin each piece by burning the surface and building natural and artificial objects over it, the burn marks and circle become a guide for placing each object.
Group 2
Natural remnants become swarmed by a chaotic atmosphere. Bits of glass are pieced together and begin to act as a healing mechanism around the natural remnants. Tuning in to these special moments, much like my time in nature also occurs in the process of creating each piece.
Group 3
Breaking down the relationships between each material and asking how they interact becomes a crucial part of my process. Moments that focus on organized repetition and the grid being broken down through burning and tearing become evident. The natural remnants are not the main focus but they peak through, reminding of their presence.