We seek to give our scars value, importance, or significance. We return to them, we trace their outline, we point to these markings as witness. The blemishes we bare are residue of past moments or encounters, which allude to personal narratives that cannot be erased. In my work I explore representations for these scars, creating a visual language with which to address the cyclical nature of wear and repair.
I revel in the suggestive nature of degradation, drawn to tattered edges, worn surfaces, and ragged openings in need of mending. I examine forms of damage and deterioration, referencing both cloth and skin, in order to consider how everyday “wounds” compile over time. Often, I draw from my intimate relationships and experiences as a way to explore these ideas, touching on larger themes of nostalgia, loss, and absence.
Vacillating between destruction and restoration, I am lured by labor intensive processes that require considerable time investment and meticulous attention such as papermaking, printmaking, and fibers. While enamored by the meditative nature of the techniques I employ, I often find myself frustrated during the making and question the point and purpose of my product. In this way my work reflects on how damage is repaired by highlighting the effort and devotion that it takes to make something whole again. But mending inevitably leaves a trace.
I consistently consider surface: what sits above, within, or beneath, questioning what is revealed or what is concealed. What is hidden, mended, or exposed? The physical layering of materials and processes in repetition throughout my work communicates how our scars accrue over time and highlights futile attempts to mask the markings of the past.