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I make large indoor abstract forms that articulate
narratives of identity in the language of crocheted fiberglass.
My forms are crocheted with a standard size hook using
continuous strands of fiberglass. The fiberglass cloth is then formed
and hardened with the application of polyester resin. Color is added
to the resin prior to its application or painted on with enamel
after the resin is set and the form had been sanded. Most of the
bodies are wall-dependent, some ceiling hung.
Identity and the construction of identity involve
human history, traditions, groups, constructs, patterns, interactions,
influences, biases, memory, and layering and passing of time. Hand-made
lace has been around for centuries. All cultures in past and present
seem to have their own lace tradition. Lace is one tiny point of
intersection within human history that connects us all. The process
of crocheting lace has been passed on from generation to generation.
In this way it speaks to human history; to time passing; to society;
to traditions of living; to traditions of manual work; to traditions
of creativity.
The historical and conceptual baggage of crochet speaks
directly in parallel analogies to the historical and conceptual
baggage of identity construction. The established modern sculpture
materials of fiberglass and polyester resin bring a sculptural and
contemporary balance to this handicraft tradition.
I abstract narratives, what does that mean? Currently,
I understand this to mean that I restate or rather translate a specific
story from the English language to the language of crocheted fiberglass.
The translation is the abstraction. As do all spoken languages,
every material language has its own unique way of articulating nouns,
verbs, adjectives, thoughts and experiences. The language of crocheted
fiberglass, I discovered over a course of several years, is not
only found in the way that the polyester resin application controls,
restricts, and gives freedom to the crocheted fiberglass cloth.
I use the craft of crochet as a tool to create raw sculpture material.
Crochet tradition includes a vocabulary of forms such as doily forms,
all-over patterns, border patters. These are a part of the crocheted
fiberglass vocabulary as are the multi-various stitches catalogued.
A strong voice within the material language that articulates
the narratives is negative space. Large fiberglass lace sheets fold
to cradle, contain, hold back, and incrementally segregate shapes
and fields of negative spaces from each other and from the viewer.
Hundreds of tiny negative spaces created by each individual knot
in the hard lace wall seem to almost vibrate the immediate proximity
of space. Containment is softened in varied degrees according to
the size and shape of these pores.
Another aspect of fiberglass language that directly
speaks to identity is the translucency of this indestructible material.
Translucent fiberglass, projecting and diffusing the light that
passes through it speaks directly to identity, personality, to human
character, to the thing that we are on the inside, the soul? Are
we behavior? Isn’t behavior a type of projection, a type of
shadow.
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