“My work seeks to reconcile blue collar and queer as an inter-sectional identity.” - the artist
I make things because I was raised to. I was raised by a single mother in rural Appalachia. Money was tight. We might’ve been white trash, but our trailer was technically a triple-wide and very nice. My mom taught me that if something broke you had to fix it yourself. Dogs get a new pen; marriages get a divorce.
The house was decorated with foraged flora and handmade signs that read “Live, Laugh, Love” or “Forget the dog. Beware of OWNER.” I learned at an early age that you can make anything out of anything.
Crafting was a way to use up what’s around you and make the house presentable while keeping your hands busy when you don’t know what to do. I use crafting as a way to engage with my lineage. It allows me to dissect various topics while maintaining a sense of place and character.
My work is soft. I use traditionally feminine crafting techniques to manipulate phallic objects into grotesque forms that inspire tummy aches; I call them noodles. You want to hold them when you’re sad, but their twisted bodies suggest a hesitancy to be intimate. They’re a breakup song. They’re a man you just can’t quit. They’re every romantic notion that never came to fruition. They’re the intersection of want, need, and can’t.
I am a soft sculptor/fiber artist. The submitted works are part of an ongoing series called "Knots." Each knot consists of fabric that has been sewn into a tube, stuffed, knotted, and tied-off with an embroidery floss tassel.
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