My interest in color combinations and rhythm began with the city neighborhood and design influences of my hometown. Through process is where the gems of my investigations are crafted together and rest at a work’s final stage. In my practice, I weave together warp and weft threads, uniting them with alternative materials such as paper, plastic with a variety of yarns and strings. By incorporating different widths, weave patterns, and textures, I play with surface and dimensions, leaving loose warp threads to give breath to or by adding macrame to continue the energy of the weaving. Layering, mark-making, color arrangement and resists are emphasized and given precedent in my work.

A void of space or a blank piece of canvas or paper sits in stillness. It waits to be filled. It waits for me, the artist, to add the noise. I intersect strings to create a surface. With utensils, such as string, toothpicks, caps, and other found objects, I dip them in the liquid medium. From there I then press onto the surface. The moment, the interaction of the materials meeting together cannot exist forever (in some instances). As a result, the mark is what remains; the remnants, the memory of what once was. Nothing left to do but to grow and expand from this initial gesture. To grow, yes, but also to cover up, alter, subtract, reveal, and to minimize as well as to maximize. 

The final stage has been reached, the piece created and transformed. The high volume of activity has settled down. Now all that remains is a steady heartbeat, the rhythm of a piece brought to life into this physical world. It is through this material investigation and transformation that leads me to my current body of work. Approaching objects, such as the easel, I study, construct and alter its form; seeking a different or more evolved purpose for the object.