Warp & Weft
Weaving involves two distinct directional strands of fiber or thread, known as the warp and the weft. Warp creates a vertical tension that works in contrast to the latter, which moves horizontally over and under the warp to build a grid of contact points between the strands. It is the contact points between the warp and weft that multiplies as weaving continues, eventually producing a woven textile.
The act of weaving functions as a rich metaphor for this thesis work entitled Warp & Weft. Images and text, acting as two strands, are woven together to tell a story of experience and found connections. A combination of these two specific media expands the capacity for storytelling and creates multiple entry points for the viewer.
Photographing is a way of extending my own vision and capturing moments for later study. My abbreviated narratives, written as though watching an event occur, conjure up the notion of a photograph, something descriptive and yet incomplete. While the text and image are not illustrative of each other, they are inextricably linked. Both come from the same elusive source of my memory and present experience and are a part of a body of work centered around making and discovering connections through the two modalities of image and text.
The viewer’s navigation of the work permits the exploration and connection of different strands of meaning. Text and Image, Wrap and Weft, are linked by the viewers movement. This framework does not allow for a prescribed pattern to emerge within this weaving action. Each individual carries with her/him an internalized set of stories and ways of seeing shaped by her/his background. Through the transcription of mine onto paper, I am engaged by the multiplicity of the connections within experience and memory, filtering and remaking them through the lens of the work.
Suddenly I saw them everywhere- the hurried hash marks and capitalized letters that mark the pavement and vegetation in my neighborhood. The fluorescent paint clings to grass or weeds, creating new organisms subject to change on a daily basis. It seemed comical, these marking that assume an air of importance being so easily wiped away by a mown lawn or Saturday spent weeding. 2013.
Inspired by the visual and lingual connections the Internet supplies as a communal archive, this body of work has been constructed as a public display of private moments in my life. These moments have helped build who I am and therefore the images I make. With this project I am re-building these memories in a visual space using detached imagery. Through Google we are able to search for an image, with an image, revealing a mass of visually similar thumbnails. In this way I deconstructed private imagery by harvesting corresponding images to take their place, from the public archive that is Google. I started with an image of interest or importance to my personal development and then wrote about this image, documenting the experience it accompanied. This text paired with each image serves as a launch pad for the viewer to being their own conversation with the images presented. Although many elements of the source image can be seen in the gridded imagery, the original photograph is not included. 2012-2013.
Where We Meet
As our grandparents die the task of sorting through their belongings falls to our parents. Thrift stores have become a vehicle through which we re-meet our grandparents via forgotten china and well loved stemware. We hold a set of memories and feelings linked to these objects that our parents do not. They, who have already spent half their lifetime collecting their own dishes and silverware have no desire for those used by their parents. They arrive, some chipped, others still in their boxes at Salvation Army and are emblazoned with 49 cent price stickers, then left to collect dust. It is here that we first meet. It is here that we purchase the things our parents have thrown away. A desire is present somewhere to recreate parts of the lives our grandparents lived, but of course have the freedom to edit them at will. We want the punch bowl and glasses that are a wedding gift from 1942, but we also want the opportunity to have multiple sexual partners, to live with someone to whom we are not married. There is a desire to be nostalgic, yet chic. And we can be, thanks to the things our parents threw away. 2011-2012.
It seemed strange that every time a friend or relative gave birth there was something new and surprising that I learned. As a young woman shouldn't I know more about the birth process? No one was talking about the details of it all yet I was asked at my wedding reception when we would be having children.
There was a set of children's encyclopedias at my grandma's that we always flipped through as kids. Once we all grew up I brought them home with me and began this project. A late 1950s family medical encyclopedia was deconstructed and the section titled "Marriage and Reproduction" rebound into the cover of Volume Two of the Golden Treasury of Knowledge. Deconstruction of both books and collage united the two books further. 2012.
I began with a series of three pieces that address the idea of young artists comparing themselves to three of the names we all hear thrown about again and again; Warhol, Sherman and Serrano. It seemed to me that after hours in lectures on the history of photography and even more hours in critiques with my peers, everyone thought they knew everything about these three artists. It was cool to love Warhol because he was a smart ass, chic to love Sherman because she dabbled in a fashionable form of image-making, and edgy to love Serrano because he pissed on religion. I wondered again and again what we really knew of these people, and, if our work could be misconstrued a thousand times over, why not theirs? What if Andy Warhol was a one trick pony? What if Cindy Sherman just liked to play dress up? What if Serrano just liked to play with his own refuse? 2011.