painted vintage linens and deconstructed clothing, hand stitching of various methods of manipulating fabric historically used in clothing construction16' x 14'
In my practice, I deconstruct and reconstruct clothing undoing another woman’s work and think about socioeconomics of maker/wearer and textile industry. In this installation, I used black painted fabric as I taught myself methods of fabric manipulation employed in garment construction to pay homage to the skills and craft of dressmakers. It is challenged learning, evidenced by my clumsy products, and labeled with tongue in cheek puns referring to the method and my emotions such as ‘I’m ruffled” for ruffles and “I’m boxed in” for a boxed pleat
I Cry at the Joyous Parts and I Cry at the Sad Parts, 2019
garments, painted and printed repurposed fabrics, composted toile, commercial fabrics, sequins, hand and machine stitching214h x 48w x 30d
This piece was created for the Fuller Craft Museum's exhibition Human Impact: Stories of the Opioid Epidemic. The ballgown at the bottom represents the seductive drug, the overalls the hard work of treatment, and the bikini the baring of yourself in all you naked glory as part of the honesty needed in the treatment process. The patchwork surrounding the garments reflects the process by which people lose their sense of colors as they become addicted and gain back senses of pleasure and the ability to see color again when they complete treatment.