Seams
Triton Museum of Art, Santa Clara, CA
My work begins with painting, then moves through disassembly and reconstruction—an
ongoing exploration of connection and division. Where there is a seam, two or more
things converge. These seams mark the joining of materials as well as the meeting of
times, places and states of being. Moments such as sunrise and sunset, moonrise and
nightfall fold into one another, revealing how change itself creates continuity. In a
fractured world, the seam becomes both metaphor and method: a site where rupture
and repair coexist.
Seams explores the interplay of light, landscape and weather as a way to map
perception and memory. The shifting glow of the sun, the stillness of the moon and the
vastness of the night sky form a temporal and spatial framework for orientation and
reflection. Informed by distinct weather patterns of coastal California, the marine layer,
coastal fog and rays of light emerge as visual language that mirrors the mutable
rhythms of the natural world.
My approach to abstraction is rooted in a physical, process-driven practice. Pigments
are poured directly onto fabric, or bleached to remove color, to create a dialogue
between accumulating and editing, masking and unveiling, presence and absence.
Materials such as cotton, canvas, nylon, and silver lamé hold equal weight to the
pigments. Cut, reassembled and stitched, the surfaces echo tectonic movement and
natural cycles of fragmentation and repair.
Recent wall installations expand this practice through scale and suspension and the
responsiveness of materials. Often beginning with recycled or discarded textiles,
painted and sewn fabric panels are attached to wooden supports allowing them to hang
freely and respond subtly to air and motion. In Fixing on a Horizon, multiple horizon
lines reference sunrise and sunset as shifting points of equilibrium and orientation,
while Blue Slip traverses gradients of blue, from pale to near-black that evoke twilight’s
liminal expanse between clarity and obscurity.
Across these works, stitching, knitting, layering, and suspension become meditations on
connection and fracture—memory and material, permanence and impermanence. The
resulting surfaces reflect the layered experiences that shape how we see and move
through the natural world.
Triton Museum of Art, Santa Clara, CA
My work begins with painting, then moves through disassembly and reconstruction—an
ongoing exploration of connection and division. Where there is a seam, two or more
things converge. These seams mark the joining of materials as well as the meeting of
times, places and states of being. Moments such as sunrise and sunset, moonrise and
nightfall fold into one another, revealing how change itself creates continuity. In a
fractured world, the seam becomes both metaphor and method: a site where rupture
and repair coexist.
Seams explores the interplay of light, landscape and weather as a way to map
perception and memory. The shifting glow of the sun, the stillness of the moon and the
vastness of the night sky form a temporal and spatial framework for orientation and
reflection. Informed by distinct weather patterns of coastal California, the marine layer,
coastal fog and rays of light emerge as visual language that mirrors the mutable
rhythms of the natural world.
My approach to abstraction is rooted in a physical, process-driven practice. Pigments
are poured directly onto fabric, or bleached to remove color, to create a dialogue
between accumulating and editing, masking and unveiling, presence and absence.
Materials such as cotton, canvas, nylon, and silver lamé hold equal weight to the
pigments. Cut, reassembled and stitched, the surfaces echo tectonic movement and
natural cycles of fragmentation and repair.
Recent wall installations expand this practice through scale and suspension and the
responsiveness of materials. Often beginning with recycled or discarded textiles,
painted and sewn fabric panels are attached to wooden supports allowing them to hang
freely and respond subtly to air and motion. In Fixing on a Horizon, multiple horizon
lines reference sunrise and sunset as shifting points of equilibrium and orientation,
while Blue Slip traverses gradients of blue, from pale to near-black that evoke twilight’s
liminal expanse between clarity and obscurity.
Across these works, stitching, knitting, layering, and suspension become meditations on
connection and fracture—memory and material, permanence and impermanence. The
resulting surfaces reflect the layered experiences that shape how we see and move
through the natural world.
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