BYU MFA Thesis
Dresses and clothing in my work also have implications for figures. The characteristics of these figures are communicated through the organic material that has stained and encrusted into the clothing, the landscape has been woven into them. I use organic materials that has been gathered from local gardens. I harvest, preserve, and encrust this material onto the fabric, marking it with the stains from the pigments and leaving a memory of the land on the clothing. This creates a dialog between the dress and the foliage. Once carefully harvested and preserved, it will now eventually fade over time. An untold amount of labor was required to create the work, which quickly becomes temporary. Hovering in time for a small moment, the work will eventually fade.
In my piece, Taming the Unruly, a tattered quilt is folded neatly on the lap of a chair. The quilt squares that make up the fabric are a concoction of dandelion flowers and cottonwood seeds. The only parts not gathered from the ground are thread and pectin, used to bind the organic materials, making it into a workable fabric. It is against the nature of dandelion and cottonwood seeds to be contained. Because they blow in the wind for their survival, this work creates a struggle between the object and the materials which are only held together through the labor of a needle. Both the organic material and the stitching are important for the construction and meaning of this work. My works are united in the stitches. Like brush strokes to a canvas, it is the thread that controls the sculptural form of my artworks. The finished quilt rests folded on a dignified, but scuffed, chair. The quilt looks as though it’s beginning to burst open. The work implies a mother and child relationship, the chair embraces the quilt which struggles to remain still.