I express my enthusiasm for constructing two dimensionally in the making of patterns. In patterns, flat surfaces are divided, edged, and positioned in relationship to each other. The arrangement of colors and shapes creates rhythms and hierarchies.
The use of various textiles in these compositions adds a material dimension to the works. The composition has a thin veneer of material and temporal characteristics. The choice of raw materials, the technique in which the fabric was made, and the resulting tactile and visual features determine its material quality.
The object’s receptivity to the temporal can be explained on various levels: for one, the material—which may still have visible traces of previous use—can have a patina. For another, this patina is supplemented by the traces of its manufacture, which are left behind by the crafting process. The handiwork is articulated via the small irregularities in the surface of the manually made product; they describe the development of the object and bring it to life. Thus, for me, these objects are like containers of time, whose colorful and compositional beauty is enriched by various temporal levels, creating a reassuring continuity between past and future. This results in compositions in which the design and the deed, the construction and the concrete, the visualized and the materialized all dovetail in a single flick of the wrist.