My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Brain, 1999. 35.6 x 35.6 x 152.4 cm, knitted cotton, stainless steel armature. Collection: Beaverbrook Art Gallery
Vertebrae, Sacrum, Coccyx, 1999. 36 x 36 x 189 cm, knitted cotton, stainless steel armature. Collection: Art Gallery of Nova Scotia
Feet, 1999. 38 x 43 x 61 cm, knitted cotton, stainless steel. Collection: Beaverbrook Art Gallery
Hearts, 2000. 30 x 30 x 82 cm, crocheted satin cord, stainless steel.
Knitted Arms, Shoe Forms, Gloves, 1997. Variable dimensions. Collection: Beaverbrook Art Gallery