For me, making is a way to explore design, composition, and layout.  The process and the labor lead to the formal aesthetics of the piece.  That is because in the act of solving problems like connecting materials together, creating reliable structure, and functionality, I wind up making decisions that also influence the visual.  My work is exposed, transparent in how the form is created, how things are connected.  The labor and thought are there for all to see.  I look at these aspects of my art as speaking to a value system that is inherent in the work, and inherent in me.   Work ethic and labor are intrinsically linked with value, both of the self, and of the object.  This philosophy comes from my history; I grew up in a blue collar town of longshoreman and steel workers.  


I am interested in craft and utilize craft processes to solve the problem of building form. Often these processes work in repetition, such as crochet, where the form is built through the repetition.  I play with the way something is repeated (increasing and decreasing lengths, for example).  This allows the forms to undulate, almost organically.  


Often, the materials I use are readily available to consumers at the local big box store, such as hardware chain, bar ties, wood shims and rope.  The accessibility of these materials challenges the conventional art medium hierarchy, and in turn maintains a level of accessibility in the finished work.  


The history of craft is very important to me.  The choice to use these techniques is to contemplate a legacy of women in the arts.  Themes of feminism run throughout my work, specifically the legend of the “Vagina Dentata.”   I look at it as a metaphor of a personal war between the mind and the body; for a vagina with teeth will bite itself as well.