I emphasize the experiential in cloth, rather than
the descriptive. These cloths are not stretched or
framed, but allowed to behave as cloth: to hang
loosely and yield to gravity.
Like many artists, I consider limits a strength.
The random "seed stitch" is repeated thousands
of times on each cloth and is the embodiment of
time and perseverance. The relative "limitation"
of stitched length and thread thickness precludes
spontaneity in the usual sense. But the less
visceral, less overtly personal mark provides a
pulse or heartbeat to the surface of the cloth.
The more active painted gesture is allowed to
insinuate itself from beneath the stitches.
My current work explores the politics of
mark-making in contemporary art. Stitching
counters received views about art. What is
valid medium? What is valid subject matter?
Who is the maker? So-called "women's work"
represents an alternative history and practice.
The physical nature of the stitched mark
reminds the viewer of a kind of activity and
maker marginalized in traditional art histories.