My studio practice involves removing the functionality from vintage chairs, transforming their utility through a complex process of cutting, altering, sanding and reassembling. I am attracted to the chair as a medium because it is suggestive of the human body--and the female form in particular--due to its connotations of domesticity, utility, and the possession of both emotional and physical attributes.
In selecting a chair, I look for lines and forms that resemble the human form such as soft curves, delicate joints, and visually appealing textures. My process involves skewing or exaggerating these features in a way that upsets or distorts reality, alternately evoking disquiet, sentimentality, and the sense of the strangely familiar. I am interested in generating emotion by exposing the underlying structure and raw material of my subjects. Recently I have used these chair forms to examine the body in public space and how the body navigates and communicates when space is compromised.