This body of work explores ideas about the relationship between sculpture and painting, the relationship between manufactured and organic and gender roles in art.
Sculpture and painting are explored through the use of surface being sewn together into sculptural form. The surfaces are painted with varieties of expressive brush marks to indicate the history of painting. Inevitably the works become sculptural, which is why the context of the work hanging as a painting is necessary.
Manufactured and organic are explored by the use of unnatural colours in both fur and painted surfaces. This is juxtaposed by the organic shapes formed by the sculptures, with curves points and folds. When touched, the malleability of the work also lends itself to these ideas.
Gender is explored through the history of sewing. Until recently sewing has been considered an act of femininity, and to some extent it still is. On another level one might read the clandestine phallic protrusions as lending to this idea as well.
The viewer should consider how the different installations for different series change the work – hung like a painting, using both the wall and the floor as an installation space or in a cluster. At its core this body of work is about juxtaposition, explored through the medium of soft sculpture.