Patterns are everywhere in the world around us. They can appear linear and direct like the finely interwoven threads of silk cloth, or organic and fluid like the rampant growth of cells in a petri dish, but there is an order to them just the same. My work stems from my fascination with both the timeless biological patterns of growth, decay, and evolution, and the mechanical patterns inherent in fibers media. Beading closely parallels the way in which cells stack, cluster, and mass to form larger colonies and organisms, while ruffled fabric resembles fleshy membranes, and embroidery stitches correspond with diverse cell structures.
Narrative is also a compelling influence on my work. Patterns behave according to a definitive set of rules, but the cycles that they create are the most basic stories that the world knows. Underlying these orderly patterns, there is a layer of subjective narrative that holds vast potential for individual interpretation and emotional reaction. Emphasizing these narratives gives my work a human connection that I value deeply.
The technology that allows humans to see the minuscule entities that inspire my work, such as bacteria, viruses and eukaryotes, also plays a large role. Microscopic magnification, the shape of petri dishes, and the bright colors of cellular dyes are all aesthetic influences for me. The ways in which these instruments can affect the entities they examine, as well as warp the examiner’s perception of the organisms, is also of great interest. By playing with the scale of my work and altering the lenses through which I show the viewer this fantastical world, I can maintain a subtle sense of uncertainty. The viewer can never be sure of how large or small these organisms actually are, nor completely ascertain if the organisms should instill wonder or wariness.