Tag: Fibers and Installation
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History is Left Beneath, Not Behind
Woodcut on repurposed fabric, with appliqué and reverse appliqué stitching; Approximately 12’x7′; 2017 Composed primarily from upcycled proofs from previous print projects, this piece shows my son Levee pulling up earth and exposing the fossil record along with the detritus that will be humanity’s lasting legacy on the planet.
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Background Noise Project
Four laser-engraved linocut blocks—of landfill, lumber, rock strata, and prairie grasses—from hand-drawn positives, mounted on hand constructed paperboard rollers. Each roller drum is 24” long, with a 7” circumference.2018 The resulting image when the rollers are printed is a continuous, progressively lighter impression to reference how a landscape, no matter how arresting or alarming, quickly…
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Wrestling with Our Better Angels
Woodcut, screenprint, and laser engraved linocut on repurposed fabric with appliqué and reverse appliqué stitching; 8’x8′; 2019 Like many of the examples presented herethis piece addresses the unitended consequences of unchecked consumption. The child wrestles with a polluted, indulgent version of himself, made from the “ghost”impressions from the large portrait woodcut.
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Keep Up/Keep Out
Site Responsive Installation; Screenprint and natural dyes on repurposed fabric curtains; Two 96″x54″ panels; 2019 “Keep Up” and “Keep Out” is the central dichotomy of the U.S. today. We are conditioned to strive for material success, hoarding our things while hiding ourselves behind baroque walls, carefully contrived avatars, and confident public personas. The McMansion is…
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Howdy Neighbor
Howdy Neighbor; Freehand machine embroidery, appliqué & reverse appliqué on repurposed fabric, grommets, and flag poles mounted at porch height; Six 3’x2′ flags suspended at 8′ on the wall; 2023 These porch flags play with the metaphor of neighborhood, on the local and global level. Some act as an invitation for care and collaboration, some…
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Anywhere I Lay My Head
Screenprint on repurposed fabric with machine stitching and hand embroidery; Site responsive installation, current arrangement approximately 36″x48″x10″; 2022 This series discusses class by portraying dwellings as symbols of comfort and security. This first series compares the coziness of our house with the bastions of McMansions, symbols of conspicuous consumption and contemporary isolation. Future sets in…
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Anywhere I Lay My Head, Version #2
Screenprint on repurposed fabric, appliqué & reverse appliqué stitching, and salvaged plastic grocery sacks; Site responsive installation;Current arrangement approximately 36”x48”x10”;2022 This series discusses class by portraying dwellings as symbols of comfort and security. This first series compares the coziness of our house with the bastions of McMansions, symbols of conspicuous consumption and contemporary isolation. Future…
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Anywhere I Lay My Head, Version #3
Screenprint on repurposed fabric, appliqué & reverse appliqué stitching, and salvaged plastic grocery sacks;Site responsive installation;Current arrangement approximately 36”x48”x10”;2022 This series discusses class by portraying dwellings as symbols of comfort and security. This first series compares the coziness of our house with the bastions of McMansions, symbols of conspicuous consumption and contemporary isolation. Future sets…
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Born On Third Base
Born On Third Base; Screenprint on repurposed fabric, freehand machine embroidery, appliqué & reverse appliqué stitching, and salvaged fake flowers; 4’x8′; 2023 This piece returns to the theme of the birth of our second child. Our home, the bungalow featured here and in several other pieces, spills out into a large city park featuring a…
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Little House Upon a Foundation of Others’ Homelands
Little House Upon a Foundation of Others’ Homelands; Screenprint on repurposed fabric, weaving, and freehand machine embroidery; 44″x24″; 2023 Our house sits upon the homelands of Indigenous nations. This piece acknowledges six such nations—via stripes of colors from their contemporary flags and/or seals—who occupied what is today Cape Girardeau (source: http://native-land.ca/). Thousands of other displaced…
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KIMBY (Knot In My Backyard)
KIMBY (Knot In My Backyard); Screenprint and laser engraved linocut on repurposed fabric, crochet, and appliqué & reverse appliqué stitching; 56″x48″; 2023 The theme of a covertly interconnected global neighborhood returns in this piece as crochet roots writhe and couple my home with those of my neighbors. The bright colors and loud patterns, like in…
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Refuse
Refuse; Site-responsive installation (with Hannah Sanders); Crocheted repurposed fabric, appliqué and reverse appliqué stitching, and snaps; 2018 Spill, Refuse, and (w)rest are from a series of collaborative fibers-based installations with my partner. The series uses craft and humor to investigate notions of domesticity as we come to terms with our complicity in the mess humanity…
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Raise/Raze
Site Responsive Installation;Crocheted repurposed fabric, appliqué and reverse appliqué stitching, free hand machine embroidery, and ribbon;10’ x 10’ x 9’;2022 Raise/Raze and Two Drained are part of a growing body of crochet installations, usually in collaboration with Hannah Sanders, that juxtaposes ecological miscarriages with our familial bliss. Often thought of as a “home craft”, crochet…
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Two Drained
Site Responsive Installation (with Hannah Sanders)Crocheted repurposed fabric, screenprint, appliqué and reverse appliqué stitching8’x9’’2022 Raise/Raze and Two Drained are part of a growing body of crochet installations, usually in collaboration with Hannah Sanders, that juxtaposes ecological miscarriages with our familial bliss. Often thought of as a “home craft”, crochet aligns with the domestic, while the…
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(w)rest
Installation view at Louise Hopkins Underwood Center for the Arts in Lubbock, TX (with Hannah Sanders); Crocheted repurposed fabric, woodcut, appliqué stitching, free hand machine embroidery, and snaps; 10’x13′; 2019 Spill, Refuse, and (w)rest are from a series of collaborative fibers-based installations with my partner. The series uses craft and humor to investigate notions of domesticity as we…
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Remains
Remains; Site-specific installation (with Hannah Sanders); Woodcut on repurposed fabric with appliqué stitching; crocheted upcycled fabric, woodcarving, and repurposed packing materials; 10’x32’x18″; 2017
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Leftovers
Site-responsive Installation at LHUCA (with Hannah Sanders); Crocheted repurposed fabrics, woodcut, wood carving, needle felting, plush forms, and collected packing materials; 18’x12′; 2019 Leftovers and Stick/Stuck (and Remains and Gargantua in the Archives) are largely improvised, site-specific installations that incorporate detritus from the exhibition host communities with components from our larger oeuvre. The finished works…
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Wean
Wean; Site-responsive installation (with Hannah March Sanders); Crocheted repurposed fabric, reverse appliqué stitching, and snaps; 14’x11′; 2017
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Squeeze
Squeeze; Site-responsive installation (with Hannah Sanders);Crocheted repurposed fabric with reverse appliqué stitching; 72″x48″; 2022
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Exhaust
Exhaust; Site-responsive installation (with Hannah March Sanders); Crocheted repurposed fabric, appliqué & reverse appliqué stitching, and snaps; 8’x9’x4′; 2016