BRIEF ARTIST STATEMENT
Sequences from transcendental numbers pi and e, prime numbers, grids, and repetition of simple geometric shapes are my obsession. Grid serves as an armature for plotting sequences or otherwise visualizing numerical value, both in turn serve as armatures for exploring patterns.
Majority of my past works are wall-based, geometric, crocheted fiberglass constructions. I create my own cloth by crocheting continuous strands of fiberglass into flat geometric shapes which are formed and hardened with polyester resin and use of gravity. Pascal’s Triangle and value of digits from specific sequences define spatial relationships and color distribution.
Most recently, I began exploring new systems of mapping sequences, anchored in drawing with various media such as graphite, markers, acrylic gouache, and encaustic paints on panel and variety of papers. These 2D works range from simple notations as graph plots to complex layered patterns that visualize hundreds of digits.
. . . and a little bit more
The road towards my signature process of creating math generated work and crocheting fiberglass really began in 1992 when I started making sculpture that dealt with abstracting narratives of identity. Within this context, an exploration of fiberglass and resin led me to crocheting fiberglass roving. Years later, the same pursuit led me to creating patterns from math sequences and forms anchored in grid and Pascal’s Triangle.
About connecting math and crochet to identity. Math is the underlying principle in all of life. Math is inseparable from nature, from us. Also, as the search for numbers went on for thousands of years, one can say that numbers represent the human search for knowledge. All cultures seem to have their own lace tradition. So then, if identity is a hybrid of our heritage, then lace is, as tradition of time, labor, and creativity, one tiny point of intersection that connects us all.