About:

I made these works gradually over the last four years, from primarily paying attention to instances in buildings that choreographed specific transfer functions, such as technologies in greenhouses, hinges, telephone lines, and passive heating/cooling plans, among others. I was focusing on coordinated systems that were so prolific that our eyes tend to skip over them, or are hidden inside walls or installed underground. By making drawings with wood, graphite, paint, and yarn, I reimagined these structures as very loose, or as visibly moving in unexpected ways. For example, Linewish depicts a greenhouse being woven out of an undulating twill pattern and the lines of a small vent; the vent is being woven into the cast-iron bones of the greenhouse. This piece is also playing with the drawing being fully intertwined with the edge of the stretcher and the woven material of the substrate.

My most recent work (Demolition Refraction, Katilyn’s Attic Light) is a direct engagement with my everyday job, which revolves around the care and understanding of older buildings, especially wooden sash windows, which are designed to be taken apart and repaired, and use simple mechanical elements (pulleys) and gravity (window weights) as part of how they open and close. I am endlessly fascinated by the thresholds and pockets when removing and fixing them. I think about how the lines in my drawings serve as planning-stage versions of the rope that attaches the window to the window weight.

Each edge in my stretcher bar pieces, such as Inside-edge, was made to be held and remade like a window in disrepair. In working with windows and how they were technically constructed through the years, I have also learned much about stretcher bars and their relationship to the window. I am interested in using a broken-off fragment to allow further speculation.