Midwestern Artist, Norwegian Rosemaler, Odd Soda Sampler, Pseudo Professional Bird Caller
This body of work started with an interest in text and its relation to the surface on which it’s implemented. While experimenting with different versions of text as image versus text as text, I noticed myself using a specific color scheme. Softer, near pastels were becoming integrated into my work, often in direct opposition of the text I was choosing. An early watercolor piece featured blocks of this light color scheme, masking and interacting with the unexpected harsh language layered on top. This led to deeper consideration of what I wanted my work to evoke.
All my work with text has, at its most basic level, sought to encourage the viewer to more deeply consider what’s being conveyed. I started searching for new ways in which to emphasise the text while maintaining a balance between it and the image it constructed. I chose to do this by partially obscuring the text through the application of texture and color. Unsatisfied with the limitations of paint, I experimented with the incorporation of new materials into my work, and found a connection to thread. The incorporation of embroidery into my pieces, in conjunction to the traditionally ‘feminine’ color palette I was employing, led to a conscious decision to push my work even further towards a ‘feminine’ aesthetic.
Once this decision was made, it seemed obvious to embrace the contrast between the visual aspect of my work and the actual text displayed on the surface of the canvas. Instead of simply playing up the surprise of ‘harsh’ language, I made an effort to move towards more overtly feminist messages and declarations. In this work I embrace the taboo of certain words and traditionally ‘unladylike’ thoughts and ideas. By delivering them in an inviting way, I hope to encourage the viewer to look closer so as to then shock them into considering the works meaning on a deeper level.