Mistress Pieces, 2014-2017
aida cloth,
roller frames,
hand-sewn cross-stitch
Obsessiveness and multiplicities run through my choice of iconic imagery as well as the processes used; crafting an intimacy with something global. Iconic paintings become less significant as paintings and more significant as images; with networks of parodies shadowing them across the Internet.
Sewing has strong historical connotations with the regulation of appropriate feminine behaviour and the division of the sexes. It is still difficult today for a female artist to be known as an artist without gender being attached.
The boundary between computer and human, heart and hard drive is a blurry one. My practice questions our assumptions of (wo)man versus machine. There is a constant exchange between the digital/non-space to the tactile object/material: dislocating traditional forms and handcrafting the digital.
Having the pieces perpendicular from the wall highlights process and ideas of touch by encouraging the haptic gaze.
