Even Formlessness Has Form
2021
photographs printed on fabric, cut, pieced and sewn, cotton batting, polyester filling
62" x 52" x 3", photo: Sean Carroll
Even Formlessness Has Form (detail)
photo: Sean Carroll
Spill
2022
photographs printed on fabric, old clothes, various fabrics, cut, pieced, and sewn, cotton batting, polyester filling
62” x 40” x 8”, photo: Sean Carroll
Spill (detail)
photo: Sean Carroll
All Sensation is Already Memory (2)
2021
photographs printed on fabric, cut, pieced and sewn, cotton batting
54" x 43"
Joy's Rag
2021
photographs printed on fabric, cut, pieced and sewn, cotton batting
44" x 52"
Figure
2021
photographs printed on fabric, cut, pieced and sewn, cotton batting
64" x 48"
With Pouch
2021
photographs printed on fabric, cut, pieced and sewn, cotton batting
30" x 38"
I Can't Hear You
2021
photographs printed on fabric, cut, pieced and sewn, cotton batting
36" x 55"
I Can't Hear You (detail)
2021
Soft Air-breather
2021
photographs printed on fabric, cut, pieced and sewn, cotton batting
33" x 40"
Soft Air-breather (detail)
2021
Give Everything Away
2021
photographs printed on cut, pieced and sewn fabric, cotton batting
28" x 29 1/2"
Prosthetic
2021
photographs printed on cut, pieced and sewn fabric, cotton batting
27" x 30"
Slash and Burn
2020
photographs printed on cut, pieced and sewn fabric, cotton batting, grommets
Slash and Burn (detail)
2020
Slash and Burn`(detail)
2020

I am interested in bodies, in what it is to live in, or as, this messy, demanding, and curious form, this “frail animal body.” Legislated, mediated, fragmented, reviled, and revered, bodies are our inescapable source of pleasure, pain, good and bad behaviors, and countless individual and collective anxieties. I began as a sculptor and through collage and drawing made my way to photography. All are in play in my current series of photographic textiles and related soft sculptures: my staged photographs and casual cell phone photographs printed on fabric which I then cut, piece, and sew into shaped quilts. In my staged photographs, when I perform for the camera by covering my arm (a stand in for my whole, mortal body) with a stocking and stick various objects (such as fruit, scissors, flowers) in the stocking, I insert myself into the sphere of objects and put those objects into the sphere of bodies. This attachment blurs the line between a body and a thing. My quilts are close to but not exactly functional blankets. They lie somewhere on a continuum between sculpture, photography, drawing and collage. Their unwieldy shapes come about through sketches, and trial and error. Perhaps shapes are so closely tied to bodies (as Amy Sillman suggests) that to make one is to feel your own body’s vulnerability. (Perhaps a viewer senses this in their body too. Maybe that’s why shapes are often funny.) The photographic textiles collage together image fragments from what we call daily life and from the realm of the imaginal.

–BW 2022