I am interested in incorporating elements of frames and wall dressings as the focus of an artwork, raising their importance within the work, and building a space where the surroundings are as integral to the experience as what is displayed against them. I’m not simply trying to copy and paste a 19th century manor house salon into the Gallery space. Rather I am picking elements of frames, pattern and decoration, portraiture and methods of display and filtering them through more basic, modern, and crafty methods of making, resulting in a naïve pastiche of a traditional Salon Gallery space.
My tertiary goal with my work this year has been to be prolific and push myself to produce a myriad of elements and finished pieces. Recently, I have been exploring a Wunderkammer mindset, and allowing myself to follow my joy and interest when developing and exploring ideas rather than having to justify it as a worthy of pursuing. This combination of mindsets, making things for the sake of making them and making things because I like them, has resulted in a wide material practice and incorporation of elements of printing, patternmaking, painting, drawing, sewing, carpentry and sculpture.
My practice explores what I consider to be the overlooked areas of presenting an artwork. While having its time and place, I find the White Cube presentation form to be overreaching and oppressive. There is often a lack of consideration for the finishing and presentation of an artwork beyond simply hanging it against a blank background. I am interested in having a cohesive, symbiotic relationship between a work, it’s framing, and the space in which the work is hung, and I think these peripheral elements like frames and wall coverings can be just as beautiful, considered and essential as the artwork it contains.