I’m currently settling into the town of Langogne, in the southern region of Lozère, France for the month of June to participate in a residency collaborating with the Spinning Museum. I will be experimenting with new works incorporating the local wool produced here. So exciting!
Recently, I’ve been working on a new project creating collaged versions of drawings by 2-6 year olds. While cutting and sewing, I’ve been considering memories made from these first years of our lives, as well as the factors that may influence what is lost and kept.
This series, “Little Small,” will be on exhibit at Maebashi Works Gallery, in Gunma Japan, from March 10th – 21st. Hope you can make it!
My work featured in the recent Winter issue of Sew Somerset:
Thanks to Create Magazine and guest curator Dasha Matsuurafor for publishing my work in their July issue as well as this little online interview!
How does using collage as your medium play into the ideas you try to get across in your art?
Collage is the perfect medium for memory themes as they naturally parallel each other in many ways. My work isn’t just about my own narrative – and thanks to the medium I am using both personal and random components to try and communicate a more collective perspective. These scraps and pieces themselves hold an entire history of their own. Then altering those pieces and layering them in fragments, I’m able to mimic the actual process of remembering – an incredibly inaccurate, shifting, and multifaceted act.
When did you decide on the color palette you are currently working in?
I’ve never really made a conscious decision as it seems like my colors chose me rather than the other way around. My palette has always been intuitive and hasn’t changed much in the past eight years. I’m typically inspired by soft pale brights but am beginning to add in some more bold elements when I feel bored with my own color habits!
What is the first thing you do when you sit down to create a collage?
I start with one piece I’m really excited about and start connecting things from there. My process is quite subconscious/ instinctive and since this can be difficult to pause, it’s not uncommon for me to finish a work in one sitting.
Is there anyone in particular who inspires your work?
So many! I’m largely inspired by the abstract expressionist painters of the 40’s and 50’s as well as many contemporary artists of a similar genre – at the moment Sarah Kelk, Bonnie Grey, and Sander Steins.
You mention your color palette has a lot to do with the idea of memory and the haziness of memory. Are there other aspects of your collages that play with the same ideas?
Definitely. Building up layers of transparency also help achieve this notion of haziness. The tracing paper elements act as faders, almost like partially erasing, or forgetting something.
Some of my work is currently up at John Hill Estate and Vineyard in Hunua – just outside Auckland – New Zealand. If you’re in the area, stop in for a peek and a glass of sauv blanc!