My current body of work dives deeper into the painterly and sculptural potential of handmade paper with a series of intertwined, entangled and expanding abstract forms made from discarded and exhausted textiles that previously lived in domestic and private spaces in direct contact with bodies. I gather various colored cotton bedding and t-shirts from thrift stores, friends, family and my home. These discarded cotton bedsheets and garments hold known and unknown stories of romantic love, family, friendship and community. The fabrics absorbed the caretaking and death that accumulate to shape our collective experience that exist beyond patriarchal capitalism’s quantifiable measures of productivity. Removing the finished edges and boundaries of textiles by tearing apart and breaking down individual pieces of fabric into pulp symbolizes dismantling parts of the individual to meld with others.

Mixing a new color pulp from two or more preexisting differently colored fabrics creates a vibrating field of color. The mixed colors are transparent in their interdependence and a metaphor for the tension between connecting with other humans while remaining an individual. Creating colors this way, without the addition of any pigments or dyes, satisfies both my ecological concerns and gives me a language for exploring the vulnerability and resilience of love and interdependence and fighting delusions of self-reliance and feelings of isolation. I work with pulp both inside my studio and outside in the built environment to create forms that echo the relationships and interdependence that exist in my raw materials and mixed colors. Inside the studio I work slowly and intricately creating overlapping and entangled shapes. Outside in the world, I press pulps from our private interior worlds against the built environment, brick walls and concrete surfaces. The soft private materials absorb and lift small fragments off of the more permanent surfaces, shifting the hard public surfaces slowly overtime.

Photo Credit: Phillip Maisel