My pieces exist as infinite gestures. These pieces straddle definitions of garment and functional objects. Influenced by the methods of notating dance unique to choreographers throughout history, I wish to remember and reevaluate the times when my hands and feet had so much sureness in their movement.
Stories of movement are told throughout my garments and objects. As a dance occurs, participants follow specific lines to navigate the form through the topology of dimensional dance notations. These lines can exist in a cluster, demonstrated in continuously stitched swirls of twine that ultimately create a table in the installation "Three Legs for Two Feet." The twine table appears to be in constant movement itself, resembling something human and something furniture.
In my practice, silhouettes are created by transforming dance poses into pattern pieces, which are then draped to join multiple dress forms into one composition. Dress forms are removed until the draping is one singular silhouette for one body, but remembers the existence of the whole formation. The garment “Curlicue” took shape in this way, as it recalls the process of creation through the unwinding of lines around the form.
Sharing a similar language in recorded movement of dance, athletics live in the lines and fabrics, but with a subversion of those conventions that formed my ideas of ability. Athletic lines are highlighted by dense zig zag stitching in “Division”, created from the shape of dance poses which are then translated into field line seams. This piece, when fit to the corner of the room, resembles something made as much to hold a body, like a chair, as it is to fit a body, like a garment. Combining definitions of garment and furniture, “Division” fully encapsulates a moment of movement. Each of the pieces in this collection are rooted in the remembering of gestures through notation, regardless of the forms they take. They are a reminder that we don’t know what a body is.