Measure the distance at which a gust of wind makes three different tree branches sway, from the same single perspective point. Do this twice.

"Wind Piece", 2012

"Shoulder Piece", 2012

In the chosen space, a bed room, I chose the absolute most essential item. This item needed to be essential in identifying the room, to be it's more defining quality or characteristic inhabiting it, and it had to be essential to the every day functionality of human life. For this, I chose the queen-sized bed mattress. So, I gathered information of the interior space and the mattress, and used them together to follow an illogical accusation. So, in a sense, I was supporting an irrational plan with solid arithmetic.
"Inhabitation Piece #1", 2012

Through a window, you see an exterior world; and, inversely, by looking into a window you see an interior world. By looking outside of your own window, and into another, you can see a world that is both interior and exterior.
"Window piece (interior and exterior)", 2012

Fractured and dismembered boxes, scattered and illustrated on fragile tissue.
"Broken boxes", 2012

Starting with twenty feet of cotton twine, I tie the string around a thin tree trunk deep inside an abandoned wooded environment. I hold the other end, and span North, South, East and West until I've reached my allowance. Then, continuing, I pivot to my right and pace clockwise from the original tree trunk until I've reached another within the area of the circle. With much left to the radius, I wind the rest of the 20 feet of twine around this other tree, making note of it's width in simple terms. Measuring the winding in the form of degrees, like when measuring angles, I document and continue to the next mode of direction.


"Twenty-foot Rotation Piece", 2012

Finger prints as identification, like D.N.A.; sonograms of fetuses, disappearing into nothing.
"Children I will never bear", 2012

Just as a film is made up of many pictures, a textile is made from many threads. I used a singular thread, hemp cord, and meditatively knitted this into fiber, focusing mostly on the process between material and art-maker. I rolled and knitted the end result, with intent to both neglect the visuals of the product, and to mildly obfuscate just how long the process lasted.
"40 feet of hemp cord", 2012