Drawing satisfies a desire to re-interpret, translate and edit a visual world full of information, complex systems and essential components. It is a way to distill the noise of textures, objects and rhythms that comprise daily life into images that have an inherent order. My drawings work to elevate certain details and reject others entirely, thereby functioning as a mechanism, a lens through which I process my surroundings. Acting as a vehicle for examination, my works on paper allow me to negotiate proximity. Far distinguishes work as a record of foreign environments and imprints the concrete forms of classic architecture and powerful landscapes on my visual memory. Near is a visceral translation of these forms and an automatic response to the shapes that inhabit my daily experience.
Apparel design can function as a method of engagement, as well. Clothing can serve as a personal visual expression, as it has the capacity to reflect editing choices. Garments can designate subcultures and give structure to a society in which we are categorized based on the manner of our dress. My collections take shape as an effort to participate in this infrastructure. One is a contemporary clarification of classic American forms: envelope liner patterns replicated by screen print, antique fabrics and uniforms. Two is a re-interpretation of industrial building materials as the basic components of garments, situating apparel on the human form as a building is situated in its environment. The individualistic texture of each fabric determines its position within garments and printmaking allows me to further specify material references.
The garments and images I create are a means to an end -- they are the product of my effort to pervade and order my surroundings.