Fibers

Permanent URI for this collectionhttps://hdl.handle.net/10217/180168

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Now showing 1 - 20 of 29

Open Access
Abigail Galvin: capstone
(Colorado State University. Libraries, 2016) Galvin, Abigail, artist
The artist's statement: Through documentation or metaphor, I seek to understand how both our sense of agency and our sense of restriction are deeply tied to an awareness of our own bodies. The result of this process is two interrelated series of work. On one hand, I use abject elements of the body to analyze issues of identity and control. On the other hand, motion and interaction explore an ecstatic sense of freedom and connection. In all of the work, the human body is focused on as an interface where these conflicting senses merge and create tension.
Open Access
Alyson Crist: capstone
(Colorado State University. Libraries, 2016) Crist, Alyson, artist
The artist's statement: By challenging the division between the realm of memory and the realm of practice, I have attempted to create work with a fascination of content and an adamant attitude towards conceptual art. Creating fabric allows me to explore my personal vision of memory and projection; through layering and repetition of line and form, I can visually create my personal thought process. Inspired by artists such as Lenore Tawney and her intersection of lines in space in tapestry weaving, I have created work that utilizes this style, as well as the grid and curves. My weaving shadows historical techniques and forms, with a play of functional craftsmanship, inspired by relic textiles.
Open Access
Anne Guo: capstone
(Colorado State University. Libraries, 2023) Guo, Anne, artist
The artist's statement: When working with fiber techniques, I focus on the concept of style and clothing. I have learned that standard clothing only fits right on some body types. I have a love for Asian fashion, but the sizes are almost way too small for regular American bodies. Finding clothing in the color you want can also be frustrating. So, I show people that fashion does not need to be dictated by the clothing companies. So, each piece of clothing I make is a style I like made with yarn. Embracing the yarn material, I work in crochet, embroidery, and weaving. The idea of clothing that I want to make dictates what process I use. Sometimes, clothing just needs embellishments to level up the piece. When I want to experiment with fluidity in shape in clothing, I go to crochet. I tend to go to weaving's pattern consistency when thinking about patterns. When doing images on clothing, I tend to gravitate to embroidery. It shows that each piece is one of a kind.
Open Access
Brieanna Hirsheimer: capstone
(Colorado State University. Libraries, 2019) Hirsheimer, Brieanna, artist
The artist's statement: My work in fibers displays two very distinct approaches. My first discipline as an artist was painting, and when I began working in fibers, I struggled with bringing my 2D thoughts into 3D through fiber. I had difficulty finding a way of bringing illustrative, graphic-looking subject matter into fibers. As a 2D artist, I slowly began creating these larger than life, cartoon-like vegetables in the 3rd dimension. This body of work brings the digital realm into the real world, with bold outlines and bright colors. These pieces walk the line of playful and methodical, creating an illusion of 2D in 3D. Once I began delving deeper into this area of work, I noticed I wanted to try a more traditional approach. I wanted to weave, however I am not keen on using the loom, so I simply decided to weave but off the loom. These off-loom tapestry weavings are fairly large, and are comprised of hundreds of knots that become mindless as muscle memory takes over. These pieces are inspired by specific memories from my childhood. The color palette and materials I use are reminiscent of the feeling I have of running around in my grandmother's garden (Thompsonville, MI, 2019), or sitting on the coffee table of my childhood house (604 Dexter St., 2018). Each piece is a window into my life, the endless months it takes to complete these weavings allows me to reconnect with my childhood in a mindless yet mindful way.
Open Access
Chelsea Lofquist: capstone
(Colorado State University. Libraries, 2013) Lofquist, Chelsea, artist
The artist's statement: I believe that art is often an experiment. I am inspired by fluid colors, interesting shapes and patterns, and the push and pull between soft and sharp, cold and warm, metal and fabric.
Open Access
Erin Bolte: capstone
(Colorado State University. Libraries, 2017) Bolte, Erin, artist
The artist's statement: I create work that draws on the historic traditions of fiber art while pushing towards forms that ease the ennui. Every piece starts as a series of strings that build up with intention over time fusing together to create a form. During the creation process a constant conversation takes place between myself and the piece. It talks, I listen. Although I am the artist I am not in lead of the conversation. I push and pull and manipulate and question until the work before me emits a feeling of quiet confidence telling me that it is exactly what it needs to be. Fibers allows me to remain within my work long after it's created. My epithelial cells are forever nestled dead within the threads of my work. The needles that pierce fabric also prick my fingers. The sweat of my hands permeates the cloth. This is my language and this is how I speak the loudest.
Open Access
Gabrielle de la Torre: capstone
(Colorado State University. Libraries, 2016) de la Torre, Gabrielle, artist
The artist's statement: Growing up, I learned that each day was a day to celebrate. My family made every day special. They showed me that we could celebrate people, events, and stories. Within my faith life, the Catholic Church also emphasized the beauty of celebration. The Church even has a color to significantly mark each day. Inspired by their incorporation of color to symbolize a shift between liturgical seasons and every day of the year, I started to pay attention to the colors used. Throughout the year, the colors give indication of the correlated emotion, feast, and celebration. The seven colors used are white, red, rose, green, blue, purple, and black. White symbolizes joy, purity, and glory. Red represents Christ's passion and blood, Gods burning love, and martyrdom. Joy is signified through the color rose. Green signifies ordinary time. Mary and aspects of her life are indicated through the color blue. Purple represents preparation, fasting, suffering, and mercy. Black communicates death and loss. My textile work focuses on repetition, layering, color and embroidery to make cloth sentimental. I titled my show as, "On Which We Build," because the Church was literally built on people's lives, events, and stories. The pieces in this show illustrate stories through the use of symbolic color and allude to those on which mine was built. For Christ I live and create.
Open Access
Gena Wasilewski: capstone
(Colorado State University. Libraries, 2015) Wasilewski, Gena, artist
The artist's statement: Even when I was young, I thought this world was beyond extraordinary. The neighborhood band of kids and I would discover and conjure up grandiose adventures worthy of story books in our green and trimmed backyards. My imagination ran wild as I relished in the hunt for small corners of untamed wilderness and delighted in stories that wove together the imaginary and the magical with the tangible. The natural world around me was ever abounding with simple gifts of such beauty and freedom. I collected and grasped these tightly in my memory. My textile work is steeped in childlike wonder, replaying the lovely bits of my memories and smoothing out the creases between actuality and invention. I create objects that evoke the emotions tied to nostalgia with delicate materials, soft colors and playfully rendered imagery. I utilize pattern and repetition on a small scale to mimic the actions of retracing and remembering. I hand weave, dye and assemble pieces that tell whimsical and endearing stories, bridging the existent and the make-believe. May we be ever seeking the extraordinary in the ordinary.
Open Access
Hannah Johnson: capstone
(Colorado State University. Libraries, 2023) Johnson, Hannah, artist
The artist's statement: I have always been drawn to textile and sculptural work but I did not always know that fiber arts existed as an established medium. Discovering it has been like finding a soulmate, a medium that suits me just as much as I suit it. My hands think in their own way, pioneering the path for my projects, exploring new concepts, patterns and forms. This is something that fibers as a medium lends itself to while conserving the inherent humanity and history of the tactile through weaving, silk screen printing, and dying techniques.My work is both conceptual and process based. The concept may sometimes come first, typically accompanied by research and then deepened by the process but other times the process informs me of the concept as long as I place my trust in it. Most of the time it is a combination of the two: concept and process that drives the creation. I work hand in hand with my art, as if it were a conversation. In this sense it is a collaboration between the artwork itself and me as an artist that results in the final piece. I deal with cultural and emotional themes, utilizing art as a way of processing what can often be a fast paced, chaotic yet beautiful life. I grew up moving throughout the Midwest, Colombia, Chile and Colorado. The constant change in language and culture in my life has expanded my perceptions and this is consistently reflected in my work. I am observant and curious about culture, society and humanity; how we function on a variety of levels, especially in context to myself. I weave many perspectives and layers of meaning into each work of art I create but it is my hope that the viewer brings their own interpretation and reflection to my pieces. Seeing the themes in context to their own experience. In trying to understand the world around us, understanding ourselves and knowing where we stand is a crucial first step that, when taken, allows us to see everything else more clearly.
Open Access
Hannah Van Belkum: capstone
(Colorado State University. Libraries, 2019) Van Belkum, Hannah, artist
The artist's statement: My work explores how photographs act as a capsule of memory, story, and relationships. I examine the ideas of the intangibility of memory versus the physical proof of a memory captured in a photograph. I spend time studying the photos and creating narratives around the subjects. I look at the connections between the known photographic permanence and the unknown unreliability of memory. I spend hours in a meditative fibers practice, focusing on a representation of a memory and honoring the moment with my time. My work acts as a remembrance of who we have been through the documentation of photographs. Creating my mom's portrait in fabric honors her passing down a love of fibers to me and celebrate the person that she has been throughout her life. She has acted as a source of inspiration but ultimately, she is just a person. As I get older, I want to understand how my mom as a person shaped who I knew growing up. I pour hours upon hours of stitch work to recreate photos of my parents. Each piece, made up of over 7,500 stitches, creates a precious intimacy with their story of years together and displaying how our lives stitched together through relationships. They reflect intimacy in relationships through the time spent stitching. Working with these photos is a way for me to conceptualize my parents as people beyond their status as my parents. I speculate about what their experiences meant to them and how their stories can call to us. We build connections with one another that transcend direct personal connection - we resonate with one another.
Open Access
Heather Matthews: capstone
(Colorado State University. Libraries, 2020) Matthews, Heather, artist
The artist's statement: Reflection, reverence, relationship—Again and again, these underlying themes rise to the surface in my work. - Reflection on my experiences as I engage with my environment, people around me, and ideas - A reverence for beauty, whimsy, and hope in the everyday. - Above all, engaging in relationships with ourselves and each other. My values and beliefs are made tangible in my creations. At this moment in time these values and beliefs feel challenged by the unrest of a worldwide health pandemic, our culture's reckoning with race and bias, and the questions around our political leadership. Along with that is my slow transition out of art school and into a new career that feels more aligned with my present life goals. For comfort and consistency, I turn to making things. The making becomes a meditative practice on this moment of personal and global transition, a search for hope and beauty, and an overwhelming feeling of gratitude. My process engages many media, though primarily I create works in fiber and drawings in charcoal or graphite. The pure pleasure I take in the softness and analog quiet of fiber art has instilled my conviction that I can use the medium to communicate. Meanwhile, I regularly turn to other media to expand my ideas and explore multi-layered ways of expression. Just as a writer must read to improve her craft, I insist on regular involvement in the art community as an avenue for enhancing my art practice. I take annual pilgrimages to major art centers in order to see master works in person, I pore over art books and visit local artists in their studios. Artists who inspire me include Alice Neel, Judy Chicago, Jennifer Moore, Shan Goshorn, Kehinde Wiley, Barbara Gilhooly, Anne Bossert, Jan Carson, Jenny Seville, Theaster Gates, Eric Fischl, Bisa Butler, and Hung Liu, just to name a few. Most recently, I have practiced letting go of expectations by giving in to on-the-loom lessons, studying color and texture, and simply putting more hours into both weaving and drawing without intention of a particular final outcome. These activities push me to learn more about myself and ways of making in ways that surprise me and enrich my pieces.
Open Access
Holly Sargent: capstone
(Colorado State University. Libraries, 2015) Sargent, Holly, artist
The artist's statement: My art is inspired by my spiritual relationship with Jesus Christ. I don't expect everyone that encounters my work to understand the theology of what I am expressing, but I spend my creative efforts to reach intimacy with His heart and the product gets to be displayed for all to see. I work with fabric and string; flowers and rocks, light and shadow. I am interested in textures that are tangled and chaotic. I sew and weave and stich and dye. These painstaking processes are my grief and my joy. Fabric tears, string breaks, dye fades, so why toil? Yet this is what I live for. I work with mud and fire, dirt and glass. I desire to contain; to display. I mix and pound and flatten and join. I pinch and press and carve and wait. Then I send my vessels into the flame. They become stronger, and I fill them with treasures. I am a vessel. His love fills me. I work with color and canvas. I paint visions of joy and capture views of peace. It's not just ideal, it's true. If I can explain truth through my brush, it looks like beauty. I work with notes and chords and emotion. I work with softs and louds, fasts and slows. I let loose the words of my spirit, and tell the stories of my soul. Music is my joy and His presence is always in that place. Art is spiritual. Art is healing. I spend hours enjoying creation in nature but I have to use my eyes that really see, and my ears that really hear. When I do, I get blitzed with gifts of beauty. Love notes written with grass and rivers and light. I must respond. I must worship. I must create. My art explores my heart, but also shows me His.
Open Access
Jaden Scott: capstone
(Colorado State University. Libraries, 2023) Scott, Jaden, artist
The artist's statement: Memories are invaluable to me. They are passed from person to person, generation to generation, friend to friend, and will outlive what they remember. Sharing these memories through storytelling, artifacts, hidden meanings, and manifested abstract ideas are the goals of my work. Being able to show a deeply personal experience from the inside and share it outwardly is at the root of my expression of memories. I create to hold onto family, friends, past and future versions of myself, and my own challenges I faced in small physical fragments. My work is a collection of personal souvenirs. My personal souvenirs are all rooted in narratives: being diagnosed with an incurable disease, past and future versions of myself, my background in dance, my exploration of gender, and, most prominently: my heritage. My grandparents were farmers and lived on a multi-acre farm, their work ethic and overall way of life heavily inspire my work and the narratives I tell. It is important for me to take these experiences and transform them into work, through which I take the time to reflect on them and myself during the process. In my fibers practices, I focus on bringing together materials, techniques, and physicality that have a lot of importance to me and the work. The larger acts of movement that go into these pieces feed energy into the work. I sit with the pieces and self reflect on myself and the work during the long hours of the process. I find that quilting and weaving allow me the most opportunity for this through physicality and movement. In those techniques, I use a lot of hand-dyed and found materials that feed into the overall depth of meaning in my works. I find satisfaction in the intense physical labor and time spent needed to produce my fibers works. By creating work that dives into deeply personal stories, I am able to dissect the impacts certain events had on me and process them through my work. Taking multiple hours to go through the process of creating a piece allows me time to sit with the ideas and events, and come out the other side a little bit wiser. There is a lot of nuance in the choices I make during my process and I can spend hours detailing the entire story and reasoning in each piece I make. It is my goal to share my narratives, my love for the craft, and myself through my works.
Open Access
Jeri Nichols-Park: capstone
(Colorado State University. Libraries, 2014) Nichols-Park, Jeri, artist
The artist's statement: Having experimented with many media, techniques, and materials, my art has continued to evolve over many years. My "go-to" tool has always been pencil, easy to use, easy to erase, easy to make changes. Always my work starts out as an idea translated into a sketch, and then it goes from there - could be watercolor, pastel, pen and ink, or a combination, and I have done many drawings, portraits, paintings, and prints over many years. But more recently I find myself creating unique fabrics by hand-painting silk, dyeing, printing, and weaving. Some end up as wall pieces, but more often than not they become a jacket, hat, skirt, scarf, or a blouse. I have designed apparel professionally for many years, but now feel like I am taking it to the next level by creating the fabrics they are made from. I see my one-of-a-kind garments as an art unto themselves...another artistic expression of myself. Rarely does a day go by when I am not thinking about what I will do next, as I am always inspired by medium I will use. When I am drawing, painting, or weaving, I become totally immersed in my work, allowing my emotions and subconscious mind to direct the process. At the start of a project I have an idea of what I mean to create and set about the task with intention, but I find when I let my "inner artist" take over the end result is almost always so much better than what I envisioned. I believe that art is as unique as the artist, the expression of each individual's unique experiences and emotions. Over the years I have finally learned that it's fruitless and self-destructive to compare my art to others; I am where I need to be, on my own path, as we all are. I create and work at my own pace and believe that true creativity cannot be forced. I want my work to be recognizable as "mine"; that viewers will know by the style, techniques, and subject matter that I am the artist. More than that I want people to know that my work is genuine, that it was well thought out, and is a true expression of me.
Open Access
Joanna Hanneman: capstone
(Colorado State University. Libraries, 2019) Hanneman, Joanna, artist
The artist's statement: My work in fibers has become a means of self-reflection and discovery after the passing of my father during the summer of 2019. My process is working towards giving a physical vessel to the feelings of grieving and conveying to the viewer how this experience has affected both my current mentality, as well as how I have been able to process the memories that linger in my father's absence. I am constantly playing with concepts of duality, convolution, and repetition as a way to create a connection between my work and those whom are viewing it. Through the use of my own original writings, I strive to share an intimate portion of myself with the viewer, allowing them to also take part in processing these thoughts and ramblings which have affected my current state. Through art, I believe that we are given a platform to create a dialogue about various topics, social issues, and storytelling traditions. However, we are also given the same platform to create a dialogue between the ancient traditions of the medium we choose, and that of its contemporaries today. Continuing this dialogue is extremely influential to not only the art world as a whole, but my individual practice as well, as this concept is keeping me grounded and making me conscious to the influential power of art making. This also has kept me aware of the impact it can have on other individuals' lives, whether they are partaking in the practice or simply viewing from afar. There is something very beautiful and raw about these traditions and communications that become available through the work of fibers within many western and non-western cultures, and I feel truly honored to be able to work, study, and create as a contemporary in the field.
Open Access
Katie McNaught: capstone
(Colorado State University. Libraries, 2021) McNaught, Katie, artist
The artist's statement: My relationship with my family, my heritage, and my own past life are very complicated. Common themes that made an appearance throughout my formative years include divorce, abuse in every sense of the word, purity culture, and general religious trauma. I feel like my childhood and teenage years were stunted in many ways as a result of the actions of my family and the things I had to see and live through while I was still a developing kid, like I had to grow up much sooner than everyone around me. I'm painting my upbringing and familial ties to be somewhat of a nightmare (sometimes it definitely was), but I also had a fairly normal childhood and family dynamics in many ways, and have a lot of nostalgia for the things missing from my past or that were severed from me later in life. And while I still dread going to family get togethers because of the dinner table conversation, I still love my family, and I still see a lot of strength and beauty in their lives. Work with fibers has been a common theme throughout the women on my mom's side as a means of survival and expression. I learned to sew from my grandma, and crochet from my great grandma. My grandma made my mom's clothes as a kid as well as her bridal veil. My great grandma crocheted us baby blankets, stuffed animals, and worked in a sewing factory in the early 1900s. Her mother before her sewed quilts made out of depression-era flour bags the we still have in our house. The matrilineal passing of knowledge and skill has been something that's been present throughout many aspects of my life and manifests strongly within fibers. The subjects of matriarchy, family lineage, and the concept of heirlooms and hereditary passing are common themes that appear throughout my work in many different forms. My work varies widely in composition, materials, and techniques used, but there's a strong emphasis on embroidery and sewing throughout many pieces. My emotions relating to my family, religion, and marriage are complex and conflicting. Making art that explores these different aspects helps me to come to terms with the past, heal, and process my feelings in different ways.
Open Access
Kimberly Saye: capstone
(Colorado State University. Libraries, 2013) Saye, Kimberly, artist
The artist's statement: My visual interests tend to lean towards vibrant, cool colors and subtle patterns. I also make my works bold and stand out, as well. My point of view as an artist is to create works that are pleasing to the eye and set a calming and relaxed mood to the environment in which they are placed. When I research textiles and fibers, I enjoy the aesthetics that are seen in functional items. This is why all of my pieces are functional. When planning my works, I sometimes have dreams about what I brainstorm; these dreams help lead me to very concrete ideas and plans. Somewhere between asleep and awake, my mind allows me to recognize ideas that my fully conscious mind does not, and I am inspired to create functional art with a colorful dream-flair.
Open Access
Lesly Alvarez-Rivera: capstone
(Colorado State University. Libraries, 2023) Alvarez-Rivera, Lesly, artist
The artist's statement: When I discovered the world of artmaking during my high school years, I realized that I struggled with thinking and creating ideas for myself. I learned how to make art to appease my audience and within a few years I deconstructed the processes of how I made art to rebuild my style and technique. Deconstructing the process of fiber art helped me discover what I love about fibers. I learned how to originate my art starting at the very beginning of the process from creating, coloring, and forming fiber. My preferred techniques to make my art are dyeing with natural colors and weaving. Both processes require a sense of control where I choose the colors and depth in the dye and the pattern of my weaving. However, there is still so much out of my control that creates an organic spectacle of the product. Fibers is gentle and forgiving when it comes to 'mistakes.' A fabric that was not thoroughly dyed leaves gorgeous variations of depth in the fabric. Weaving is a mathematical technique that needs exact calculations, but the colors and patterns used change the atmosphere of what the weaving will communicate to the viewers. Every decision in my artworks surprises me at the end because of the unpredictability with my process. I hope to create woven and dyed works that materialize the excitement of when I get to create a new work and I aim to show the world my artwork - specifically to other fiber artists as an assurance that there is room for fiber art, too.
Open Access
Maddie Shackelford: capstone
(Colorado State University. Libraries, 2017) Shackelford, Maddie, artist
The artist's statement: There used to be an uncomfortable tension between art and craft. That pressure has since dissipated and been replaced with a new tension - that between art and design. Arguably art and design have different objectives, however I am interested in how they can be the same. Design is becoming less and less about simply displaying information in a visually stimulating way, and more about user experience, empathy and psychology. Being interested in both Fiber Art and Graphic Design, I want to explore how that user experience can be heightened by art, and how design can inspire and grow from roots founded in art. Because design is sometimes put in a category outside of art I explored this perceived dichotomy between art and design in a recent project. I created a brand and product packaging experience that was extremely elegant, tactile, and gave importance to the experience of opening or unwrapping a purchased product. The piece was about anxiety so I wanted to ease anxiety not just with the products within, but in the packaging experience as well. I did this by including soft and textured embroideries in the lids of the products. Does their inclusion in packaging mean that they are no longer art? I think not. I believe that their existence in the packaging makes the packaging more fine art like. Design and fiber must work in tandem to elevate each other. When I am creating from fiber the focus of my design is both visual and tactile. Fiber is very visual and can be graphic, but it also begs to be touched. When I am working on a wall piece I primarily think about where it can be hung, how it can be hung, and how light will interact with it. Texture, color, and shadow are all important design elements that go into a piece intended display on a wall. My studies of design and design thinking have caused me to gravitate to objects that are clean, neat, have ample breathing space, employ angular shapes and lines, and also have a pleasing flow. I prefer soothing color that calms a weave structure that might be busier. It is in my nature to want to clean up messes, so my Fiber Art work is never messy, never a thread out of place. On the opposite side, fiber has a long history in craft and function. When I make something intended for use in a home the design elements have to change. Form, color, texture, and shadow are still important, however it is more important to me to make sure the functional needs of the user are met. For example, can it be machine-washed? Will dye fade or bleed? Does it pill over time? Can it take some abuse? Is it soft, textured, and pleasant to touch? Even though functional pieces are still fiber art, it is important to me that the owners of the objects I make can use them without fear or hesitancy. I want to give people something they will use and love and pass on to someone else. I want to make precious things that are precious because they are well crafted and beautiful, not because they mean something to me specifically. That's not to say that my work is not imbued with meaning, meaning just isn't the most important part to me. Pieces with heart, made with soul, conviction, and reason tend to be more beautiful than something mass-produced. I think this is because our creativity comes from God, and when we are exercising our creativity and combining it with emotional intelligence we can make beautiful things. For me Fiber Art is an act of worship. It is using the creativity and ability that God gave me. I am still unsure of whether I want the subject of my work to be faith. But if not, the process will always be¬ a worshipful practice for me.
Open Access
Mak Tucker: capstone
(Colorado State University. Libraries, 2021) Tucker, Mak, artist
The artist's statement: Through material, I explore my own very personal experience with queerness and gender expression. Growing up I developed an aversion to things that are seen as girly and feminine because of my own struggle with gender, and feeling wrong as a woman, the gender I was assigned at birth. Through more thorough investigation of my own identity, I have been able to settle into a more comfortable understanding of myself as a nonbinary individual. I have come back to societally feminine materials with an understanding of how they relate to my experience being genderqueer and knowing that I can love feminine things and express myself through their use without subscribing to their association with womanhood. In my work I include things like pearls and beads and integrate soft colors and imagery to create objects that express my tastes in a way that is in my own control. Through this, I can make new associations for these materials that are disconnected from expectations of femininity. I use imagery of the body in my work to discuss discomfort and alienation from the self, as well as the successes and failures of the physical form in representing the internal self. The body holds our place in the physical world and plays a part in expression and how others view us. This creates a complicated relationship between the internal and physical self, especially when it feels as though the body is not an accurate representation of our internal experience. It becomes difficult to treat the body kindly when it is something that causes frustration, loss of control, and in some ways doesn't feel like your own. In my work I investigate the symbolism of the body in representing emotional experience, and anxieties surrounding the way it fails us and the ways we fail it. The subject of my work often deals with longing, despair, overwhelming emotion, and loss of control. I explore these themes through integration of narrative and character. Fiction, I believe, is often better at expressing truth than reality. I think it is easier to experience emotion and understand difficult feelings in a real way when seeing them through an invented narrative that is disconnected from the complications of reality. These emotions are felt very deeply, and I include fantastical elements in my work to portray the experience of this feeling more accurately.

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