The Shadow Images series is composed of laser cut acrylic that is sandblasted and coated with enamel paint. Pin backs are inserted into brooches and necklaces are constructed using various rubber, plastics or other common materials to create bright and dynamic compositions.
Shadow Images series emerged through the documentation process of my previous work. While photographing work I had completed, I started taking detailed pictures that I thought were interesting. My previous work was made of silver wire and was difficult to photograph. It was cut, formed, melted, hammered, drilled, and arranged to form jewelry. These lines, loops, and connections all worked together, like a three dimensional blueprint, that when activated by the body, created animated movement.
While documenting the work, I became concerned with the visual experience of the work and the finality of photographing objects. What about the space the work occupies, the moments that went unseen or left behind? This idea presented an alternate existence or continuation of my previous work in the fragmented recreation of those pieces. I took those detailed pictures of the jewelry as they existed in an interactive state with the body or simply placed on the table. I used Photoshop and Adobe Illustrator to extract new shapes, shadows, or remnants of the pieces and had them cut out of acrylic with a laser cutter to form new jewelry. They became objects about the object that I could juxtapose with one another. They are earrings that are silhouetted images of other earrings, necklaces that are fragmented images of other necklaces. I could move back and forth between photographs and objects, much like the process of my previous body of work.
The premise for my previous work involved discovery, through process: moving back and forth between drawing and the object. This idea, this looping back and forth, is integral to my overall practice because the process leads to discovery as discovery leads to process. My work evolved and materialized through the spontaneity of drawing, the direct and immediate experience with the material and the vision to see them both together in an alternate context or path.
Remnants is an ongoing series of art objects derived from sketches and jewelry, often using technologies such as laser cutting and CNC routing. This work includes wall pieces with altered images of jewelry and the actual work represented in the wall pieces. The jewelry is displayed similarly to the corresponding wall pieces. The silver jewelry was created first and then photographed on the body. Fragments of those images were outlined using vectors, laser cut, enlarged and then buried in layers of paint on Baltic birch panels. The panels are held parallel and slightly off the wall by a wooden structure instead of a traditional frame. The edges and the back of the panels are visible, the layering of the paint left exposed along with the layers of the Baltic birch plywood. The panels are displayed as diptychs of mirror images. The jewelry is displayed on a sculptural base and at a slight angle. It rests around a raised oval that mimics the curve of the image in the wall piece. The display is created in a similar fashion to the wall pieces. The panels are meant as architectural remnants representing the physicality of forgotten moments. The imagery exists as a remnant; a trace memory of something that wasn’t recorded or noticed enough to be remembered; something forgotten. What remains is what once was present and cherished and found again through the visual inspection of the work. They are images meant to contemplate the interaction with the human body; when jewelry is no longer on the body. Whereas the actual jewelry becomes static the remnant retains its motion.