This series of collages are small meditations on motherhood, past experiences, and the current political climate. Each work is a graphically composed paper-pieced collage on a board cut into a 3” x 5” rectangle. The small surface allows me to be agile and instinctual when I create my collages. The paper pieces are selected by the color palette, design and Roland Barthes’ theory of punctum. The text is from the British art history book, “The Second Annual Volume of the Walpole Society: 1912-1913.” When a piece includes copy, the viewer must rely on the its storytelling component to comprehend the collage’s context. This body of work is inspired by the graphically pleasing and contextually heavy work of Barbara Kruger, the Femmage works of Miriam Schapiro, and the contemporary paint palettes of painters Heather Day and Jessica Brilli. Once complete, the collage is photographed, edited, and refined. The finished product is a 14” x 8.4” print that is mounted on foam core and hung by a French cleat. This work will continue to be an exploration of the varying aspects personal and societal issues as becoming a mother has influenced the way I interpret my childhood, past experiences, and the world today.
Passed Into Alien Hands
Position to Patronize
A Peculiar Life
Not Unnatural to Imagine
Piecing the Fragments Together
Into the Darkness
And I Could Walk
A Youthful Figure
Compartments That We Keep
Through a series of personal interviews, “Compartments That We Keep” illustrates an intimate look into that which individuals have compartmentalized and bottled up. “Still life profoundly pretends, but only pretends, that it is absolute unreality is the simulacrum of real presence.” These photographic tableaus are a representation of an intimate interview regarding an event and person who shared, but it is only a fraction of the story.
If you saw my Mother on the street you wouldn’t know that she is sick. A decade of doctors appointments, procedures, pokes and prods, a decade is a long time, and she is known as the “resident expert’ by her fellow patients and doctors. Approaching the Cancer from a different perspective this time around has kept the disease at a safe distance for me. Enough distance where photographing acted as mediator. It shielded me from actually having to really deal with it.
The project spanned across 2 simulations, 5 radiation treatments, 6 Chemotherapy treatments and a couple doctor’s visits. I documented my Mother going through the motions, as I went a long with her. I shadowed her for two days, and let me tell you she can sit in one spot for a very long time. It was an exploration of my relationship with my Mother and her/our dealings with Cancer.
The Body Confidence Project
The Body Confidence Project series explores women and their level of acceptance with their bodies. Women spend so much time and energy struggling with body image. I wanted to create a series that could be a platform of celebration of the female body. Through the creation of this series I learned a lot about feminism, and the portrayal of the women's bodies in art. All of the images were shot with a 4x5 Field Camera, the negatives hand developed and scanned in with an Imacon Negative Scanner for editing.
Some Things Can't Be Unsaid
"Some Things Can’t Be Unsaid" originated from a time when someone close to me said something hurtful. They probably didn't realize the weight of their words on me. "Nothing's going to hurt you the way that words do, when they settle (be)neath your skin." A lyric from the singer Sara Barielles' "Brave" resonated with me.
I wanted to explore how women use make-up as masks. Showing how the use of makeup can act as a mediator between themselves and the world. If a woman is having a bad day she can put on a "brave face". The idea being if someone says something hurtful; as a woman, you can cover it up, bury it and keep moving forward.
I reached out via Facebook asking women to share with me something that someone had said to them that hurt them in one way or another. I then had those sayings written on my by Artist and Designer Genna Cowsert. She wrote them on my face neck and chest. I then showed how we cover those things up with make-up and clothes. I removed all of the makeup, and hand letterings using a white washcloth to show the many layers. Using the process of removal being a cathartic process in the purging of those hurtful things.
Inspiration Stefan Sagmeister, AIGA Poster for Cranbrook http://www.sagmeisterwalsh.com/work/project/sagmeister-aiga-detroit/ Gerlovin & Gerlovina, Photoglyphs, http://www.gerlovin.com/photoglyphs.html
Memory “on a literal level is an act of creation”. Using family snapshots to create a piece of Fine Art skews the traditional idea of the use of photography. Snapshots are considered a domestic use of photography. This is an examination of how an object of domesticity can be pushed to the world of fine art.