Exercising a slow, repetitive process, that minimizes an image of memory on a wide range of ephemeral and unconventional materials, I use time and space to transform my work. Revisiting a memory overtime shift and changes its original appearance. From these experiences, a new image will arise, always leaving a void or new mark blurring and altering our memories of past experiences.
Printmaking allows me to alter images using both traditional and digital processes. Layering ink on an image allows for multiple variations to evolve from an original image. This process allows me to alter memories with transferring and manipulating ink before, during, and after applying it.
This handmade book has a screen-print front and back cover. The pages are digital codes from one of my Nana’s images. Over the process of the book, they are were glitched using the first love letter from my Nana to my Pappi. The images that correspond to the pages of code are the visual effect of adding each sentence from that letter to the code.
Beauty can come from revealing secrets with another person. With every discussion, a moment of trust, love, and healing is created. From these experiences a new image arises; there will always be a mark present from past experiences. The process consists of slowly making a memory change and conceal parts of the memory. In this piece, I revile the secrets withheld, and the emotions, which have developed over time. With the use of a print and my body, I shared a secret and then scrubbed off apart of the print, giving a piece of myself away to the viewer. The process exhibits the breakdown of one’s emotions within the mind and body.
A Stitch in Time explores the physical and metaphorical destruction and compression that occurs within the memory. A slow, repetitive process, minimizing images of my memory on a wide range of ephemeral and unconventional materials, I allow time and space to develop the work organically. New and revisited experiences alter overtime creating a new image, a mark present on past experiences. By incorporating video and performance art into my process, I invite the audience to participate in the compression, repetition, and exposure of the memories discussed. After I combine fiber arts, video documentation, and ephemeral materials, such as salt, I apply Psychoanalysis to my work. Psychoanalysis allows me to transfer the withheld emotions from my subconscious onto the work. Each object present in A Stitch in Time has a specific tie to people and events which have occurred in my life. Many of these memories are associated with loss. With time, confrontation of these moments creates a seam of healing, allowing one’s reaction towards the memory to shift. My decision to hide, conceal or release via embroidery varies based on the memory addressed. During each recollection, I conceal it with repetition of the stitch to transform the memory into a blur. This blur brings the internal dreamlike sequence of one’s memories into a tangible form. Once something, even a painful memory, is made tangible, it can more easily be confronted and ultimately overcome.
(The installation was stitched into and altered over the duration of the exhibition.)
