5256A Natrona Way
Pittsburgh, PA 15201
by appointment only
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Humans have evolved over millenia with textiles both on and around us. We should not allow one century of drywall and air conditioning to distance us from their flexible, connective, and poetic potential.
In a machine age, dressmaking is one of the last refuges of the human, the personal, the inimitable.
We work with architects, interior designers, artists, and end users to create textile elements for spaces. We bring ideas and implementation for vivid soft walls, operable partitions, and tailored panels that take spaces beyond the ordinary while adding comfort and improving acoustics. Extensive experience with coordination of projects, documents, and presentations translates into plans and designs that work and evolve in sync with larger construction goals.
For the true seekers,
here is my old links page
The Other Border Wall Project
A collaboration with Tereneh Idia
and Jenn Nagle Myers since 2017
to creatively resist the Border Wall and its message.
Exhibition and activities coming in 2020/2011.
We must come down to earth from the clouds where we live in vagueness, and experience the most real thing there is: material.
By first reminding us of the handmade, and secondly illustrating abundant math and geometry, the woven materials surrounding us are reminders of human inventiveness. Linens, robes, and draperies of today and yesteryear import coziness, pliability, and warmth. A painful memory could attach itself to some fiber now and then to be sure, but who would choose a rocky uncloaked resting place over a soft one, especially into the long night?
Whether I am making a simple fabric shade or a complicated sculptural piece, the same consideration goes into each seam. These realms of my work are equally important, and in both I seek a balance of objectivity and self-investment. A studio practice I have carried on since 2003 generates sculptures, partitions, and painting-like objects made of textiles. In creating sculptures, I work methodically, sometimes beginning with paper models to seek quiet and mysterious volumes. On two-dimensional works, I proceed more intuitively to bring chance details into measured courses as they accrue. The work moves back and forth between rule-following and improv, color experiments and found hues. Constructing these influences my perspective on intangibles such as empathy, intimacy, loss, re-generation, and the history behind materials.
Indeed, tone or voice is what you get when, larynxlike, you breathe through structure.