I make large, wall-based, indoor abstract forms whose conceptual purpose is to articulate narratives of identity in the language of crocheted fiberglass and to redefine expectations of a sculptural object by unraveling preconceptions of materials, forms, and categories in art. The work is strongly footed in Post-Minimalism, Art Povera and process art. It refers to identity, community, figure, and body in form, relationships, translucency, the cellular nature of its endless knotted strand, and the shadow that the lace casts as it respires from the wall.

Guided by specificity of narrative that deals with identity construction or community structures, I crochet continuous strands of fiberglass into large geometric shapes. These are formed and hardened with the application of polyester resin. Color is added to the resin prior to its application. The work engages math, an underlying principle in all of life, as a structural foundation by utilizing the grid, prime numbers, Chaos Theory, the Fibonacci sequence, and Pi.

The process of crochet and the construction of identity both involve human history, traditions, groups, constructs, patterns, interactions, influences, biases, memory, and layering and passing of time. All cultures seem to have their own lace tradition. 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.

In summary, I make wall-based, indoor, translucent, durable, monumental lace that combines the past, the present, and multiple disciplines. A product of time-based manual labor that has been contemporized by the use of the industrial materials of fiberglass and polyester resin, mathematics, and the language of art and architecture.