My work is strongly influenced by my childhood upbringing. Frequenting antique malls and old homes, I have developed an innate interest in antique items, their quality in craftsmanship, their evidence of use, and their ability to evoke memory and emotion regardless of one’s lack of personal history with them. I am especially interested in items that document their relationship with their owner through wear (or perhaps lack of wear if deemed precious), and sometimes as literally as bearing a monogram.
Renaissance anatomy drawings, mourning jewelry, portrait miniatures, and objects that relate to or mimic the body, such as gloves, mannequins, and makeup compacts all provide inspiration for me. I am interested particularly in the emotional responses that these evoke – attraction vs. repulsion, sentimentality, sorrow, longing – and their ability to do so at often a very small and personal scale.
My work explores a number of glass processes, all of which are employed to ideally create the illusion of other materials – wood, shell, skin, fabric, etc. I also use glass for it’s historical scientific references, transparency, and ability to transmit and hold light; these properties often aid in its transformation. Ultimately, I utilize the found object as a historical framework that suggests the credibility of my fabricated additions, helping to disguise their material dishonesty in the midst of a new story.
"The task of beauty is to enfranchise the audience and acknowledge it's power - to designate a territory of shared values between the image and its beholder and then, in this territory, to advance an argument by valorizing the picture's problematic content. Without the urgent intention of reconstructing the beholder's view of things, the image has no reason to exist, much less to be beautiful. The comfort of the familiar always bear with the frisson of the exotic, and the effect of this conflation, ideally, is persuasive excitement - a visual pleasure. As Baudelaire says, "the beautiful is always strange," by which he means, of course, that it is always strangely familiar and vaguely surprising."
Dave Hickey, Enter the Dragon
Photo Credit: KP-Studios