––– WEBWORDS –––

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OKAY / WELL, 2021
12 X 12 in. each, synthetic polymers on wood




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casccareen, 2021
20 X 20 in. each, synthetic polymers on wood






–––
whenwe, 2021
18 X 18 in. synthetic polymers on wood

––– WEAVINGS –––

(also see: decalibrated referent)

–––
beach hairs Peter, 2022
~24 X ~46 in. cotton, synthetic polymers handwoven via digital jacquard
A selfie is refracted through processes of depiction/materialization; digital imaging and translation to weaving draft and then handweaving by digital jacquard.
The image is a still of the subject moving through space, long hair floating to the side.
Disconnection between the subject and viewer is continued through an upside-down orientation, reflecting Peter's desire for an inverted crucifixion, feeling unworthy of a format similar to Christ's.










–––
Weaving2018, 2019
38 X 145 inches; cotton, polymer fibers
Digital jacquard hand woven on a TC1 glitching due to neglect.
Potentially the last piece woven on this machine, in reflection of the removal of support from Fibers/Textile programs of education amidst a surge of public interest in weaving and related studies.








–––
honey still floats, 2019
diptych: 38 X 24 inches each; cotton and polymers
Handwoven digital jacquard; a screenshot still of a video performed outside Big Bend/Marfa, TX.
Inverted with intentional and unpredicted glitches expressing a negotiation with a machine breaking down as it facilitates weaving the piece.
Ghost images of a figure suspended in space and time with ambiguous hands result.







–––
lakewise, 2017
80 X 88 inches
cotton, wool
lakewise is a coverlet embodying traditions of overshot weaving, digital systems, and bathymetry (Lake Erie) to develop a functional object symbolizing transference.






–––
cottonweed, 2017
4 X 32 X 38 inches, undyed cotton (industrially manufactured and homegrown)
Handwoven digital jacquard with 02NCAC48A.0607 excerpt; laws controlling cotton growing in North Carolina.

––– WELDINGS –––
(also see: within without; SPATIAL>CONTAINED)

–––
PLEASURE 1.0 and PLEASURE 2.0, 2023
1.5 X 6 X 9 in., blackened cold-worked steel on found (Brazilian hard) wood
(Private Collections, Made possible by Sculpture Space, Inc.)





–––
bealach, 2023-2024
32 X 46 in.; forged and welded steel IN PROGRESS
Custom, functional, gate for entrance to historic, land-locked cemetary (c.1800s) from private land; in Gaeilge meaning ‘way, passage, gap’, typically of a path nestled between hills
Made possible by Sculpture Space, Inc.




–––
cacophony, 2023
4 x 4 x 7.5ft., painted steel (self-etching primer and Rustoleum flat finish on square piping and solid rod), built for installation on concrete pads
Made possible by Sculpture Space, Inc.

cacophony is a monument to ‘nonspeaking’ survival and the infinite richness in those experiences.
The positive and negative spaces of 'cacophony' both reflect the potential for tyranny in language and carve out a space to inhabit beyond words, an almost cocoon or enveloping throne-space.
cacophony's modular nature further supports accessibility.






–––
gates and ladders, 2016
10 X 10 X 12 in. poured iron (lost-wax casting), magnets






––– MIXEDMARKS –––

–––
games01, 2019
23 X 18 inches: ink, polymers, silk; on paper
(Private Collection)
The first of an ongoing series, games01 is drawn from a still of horse and rider mid-vault while competing in mounted games.
These competitions value speed and skill as horse and rider work to run through a series of obstacles and tasks.
Stills from these competitions illuminate the focused intent of both beings as limbs and leather straps splay out, disorienting and defying gravity.
'games' offers insight to balance between control and chaos, predator and prey.
















–––
beach hairs, 2019
22 X 36 inches: cotton, ink, polymers, silk: on paper
Gradients are implied through binary patterning used for digital weaving, across a base digitally printed on cotton sheeting.
Derived from structures made to be woven digitally, the print on these threads is of digitally-simulated threads.
he image at the root of these forms is a self portrait in movement, presented from and inverted perspective and distorted through the process of filtering into binary data.














–––
trust me, 2018
14 X 14 X 22 inches, silk, steel
‘Trust me, I’m telling you stories' says Jeanette Winterson.
MRI scan digitaly printed on silk with abstracted text regarding power imbalances, stitched to reflect physiological impact.

EXHIBITIONS: 2019 Vignette Art Fair; The Women’s Museum, Dallas, TX; curated by Leslie Moody Castro COLLECTIONS: Private










–––
testing, 2018
18 X 23 in. ink, steel, cotton; on paper

––– CAPSULE COLLECTIONS –––

See: INTIMATE ARCHIVE



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Select objects and wall-based works, also see INTIMATE ARCHIVE