My work interrogates coordinated uses of the body. Through performance, video, sculpture, and photography, I question the boundary between artist and athlete, challenging the internalized and gendered rules we use to give each meaning. My comfort with expression through exertion and prowess calls into association other binary distinctions such as man vs woman, as well as human vs animal. The necessary intensity of athletic coordination and training prompts an energetic and materially grounded practice, bringing to attention the tools and environments that contain and display performances of power, hierarchy, and endurance.
In, Ah, Pussy, of the Sands No.2, I pull from my biography to explore the notion of the contemporary athlete as animal, specifically, as cat. I investigate perceived notions of authority and historical hierarchies by conflating the objectification of the athletic body, the female body, and the natural realm. The artist-athlete, like a figure for physical vitality or potentiality itself, subverts the concept of female body as a tool by painting herself, pushing herself, highlighting her trained physicality, and flaunting her body and skill. The final product renders me the single agent of my trained body, mind, and practice, while nodding to the histories of women who came before.
Although materially divergent, both my sculptural practice and my new-media work examine similar athletically-inclined concepts such as endurance, physicality, and the building of strength within the studio. My accretive way of working is informed by my interest in the impact of space, the built environment (decided boundaries and lines), and our relationship to the grid. The wrapping, tying action of my knotted work references the sculptures as not only objects but also bodies, and thus the makers’ body. In both material and content, these works intentionally confront the spaces between the human body and sculpture.