March 2016

In my practice I examine the relationships between humans and the environment. Using different methodologies of research, from texts to fieldwork, I produce drawings, prints, zines and sculptures that embody my investigations.  My recent project, knowing fragments, is a collection of works using concrete as a lens to examine our presence in the landscape and how it relates to society’s power structures, such as colonialism and sexism. To understand the concrete forms in our world I deploy observational tactics, semi-scientific methods and drawing. 

In my drawings I combine inspection and imagination as a means to explore the objects and forms that I’m interested in.  Some of the drawings in knowing fragments are portraits that tease out the concrete forms from their urban settings where I expose them as symbols of patriarchy. In other drawings concrete barriers are freed from their rigid uses and allowed to resist standardization. Operating on a different register are drawings that act as records of time and space: graphite rubbings of the sidewalk and wet dirt run through an etching press. The drawings stand alone but also act as ephemera of my research. The objects cast in concrete within knowing fragments are explorations in the material’s form. As shapes they reference building materials, but because they are cast with dirt in addition to concrete they are rendered fragile and impermanent. The reading area within knowing fragments invites viewers to sit with a series of zines that act as footnotes and citations to the other works. I made these zines by selecting texts from a variety of sources on sustainability, extinction, conceptions of nature, climate change and ecofeminism. The disparate information is assembled alongside drawings and xeroxes and in collaboration with the other works begins to illuminate connections, questions, and revelations.  

In knowing fragments I question society’s hierarchies through my subject matter as well as by including the ephemera of my research alongside so called ‘finished work’, not only challenging the materials and structures of our environment but also complicating expectations and the modes of display of what exist in a gallery.