Currently lives and works in New Hampshire. Lived and studied in Kyoto Japan from 2006-2014, starting as a Research Student at Kyoto Seika University in the fall of 2006, continuing on to complete her MFA in 2010 and her PhD in Fine arts in 2013. Completed her BFA at the Rhode Island School of Design in 2005, graduating with honors, majoring in Textiles.
Looking at a tree over time, leaves appear from the branch tips and the trunk gets wider. I became curious about how this happens, from where does the force build and what are the small changes happening every moment that accumulate as a tree ages? Starting with a seed, how does that seed then transform into a plant?
Finding a discarded snake skin, I began to think what does the energy that allows the snake to regenerate look like? With these questions in mind I began to create my own work in a generative fashion, using improvisation as a rule and using processes of accumulation, division, subtraction and multiplication. I’m interested what will result through careful attention at each step along the way, casting aside pre-conceived notions of an end product. I often discover meaning through process.
For example, I’ve explored subtractive processes in burning through walls of layered paper as a method of slow erosion. With a stick of incense, I draw and carve through the paper creating intricate patterns that allow the paper to move and breathe. Although the subtractive burning is a permanent change that cannot be reversed—a death—the breathing movement of the paper suggests an addition—life.
In additive processes I use stickers piled on each other in an exploration of the forking nature of infinite time. Some of the forms I create become recognized instantly as characters and others as natural biological forms such as tree fungus, eating away at the empty gallery space.
More recently, my work has also used multiplying and dividing processes where I build vector graphics, manipulate their scale and make stickers using a digital cutter. These stickers come into play as I create large scale works that focus specifically on the human body, its systems, meridians and pathways. The shape of the stickers follow the form of various Mudras, hand gestures, which are traditionally used in Indian dance to communicate and in meditation to seal particular energies in the body.
Practicing and researching certain mudras, I consider the effect of repeatedly holding that gesture on the various energy systems of the body. In these pieces, I have been working with a different singular form on each surface to build energetic compositions that are larger in surface area than the viewer themselves, enveloping their visual field. In this way, they may consider the power of their own hands and systemic beings.