GENERAL ARTIST STATEMENT
I am an artist who uses numbers. I create geometric abstractions by using sequences from the numbers pi and e, prime numbers, Pascal’s Triangle, grids and repetition of simple geometric shapes as tools in devising systems for mapping and visualizing numerical values by which I can create new and uncommon patterns.
In 1992, I began making sculptures that explored dialogues dealing with the nature of being human, of personal individuality, and of collective identity. In 1996, during an exploration into materials and processes that would support my conceptual agenda, I began developing my signature process of crocheting fiberglass. All cultures seem to have their own lace traditions. 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.
My works are indoor, wall-based three-dimensional constructions. Majority of my past works are crocheted fiberglass constructions that can be as shallow as 2” or as deep as 30’. I create my own fiberglass cloth by crocheting continuous strands of fiberglass into flat geometric shapes. These are formed and hardened with the application of polyester resin and use of gravity.
In 2001, I was looking for a way to break up a line of 80+ crocheted fiberglass discs by inserting spaces, in a seemingly random, asymmetrical, and unpredictable manner. My mathematician husband pointed me towards the number pi to use as a random pattern generator. I realized then that mathematical patterns are found in all manner of life and that numbers are in all aspects of identity as numbers label, classify, and define our place and identity within family, community, and the greater population. Mathematical structures became part of my conceptual toolbox.
In 2011, I began exploring new systems of mapping sequences in drawings, with various media, on a variety of surfaces. The two-dimensional works range from simple notations as graph plots to complex layered patterns that visualize hundreds of digits. In 2016, I was introduced to a laser cutter and have since focused on developing a body of wall-based works, using laser-cut acrylic sheets separated by vinyl spacers. Here, simple geometric shapes, panel placement, cut-outs, and and/or engraved lines plot numerical values.
The crocheted fiberglass work utilizes a labor-intensive process that engages my hands at every stage whereas the new work has almost completely removed my hand or the sense of my hand from the final product. All the 2016, 2017, and 2018 work with acrylic sheet was designed in Photoshop, plotted in Illustrator, and created entirely on a laser cutter. I am now beginning to explore different ways to bring my hand back into the work, so far by drilling holes, scratching-in lines, spraying paint and varnish, and drawing with graphite. I am also learning basics of sewing and weaving in order to experiment with combining these techniques with the laser-cut acrylic sheets.