My work exists at the intersection of textiles, painting and sculpture. I use human-made tools and their corresponding shapes, like voyeuristic binoculars that see only what we direct them to, a parachute used to teach teamwork and compliance, or portraiture’s role in regurgitating spectacle culture, as vehicles for understanding larger social systems that prey on our desires and fears. By constructing color through optical trickery and welcoming strangers into “playful” collective storytelling performances, the work reveals the malleability of our perception and what’s at risk should we forget our peripheral vision, ignore the gaps or hold too tightly to the romantic stories we tell ourselves.
