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As humans, we define ourselves partly in relation to the built environment around us. Buildings in the urban context interact with one another and allow individuals to create a narrative of who they are-past, present, and future. Our memory and identity are forever changed after buildings and monuments are destroyed through war, natural destruction, and urban planning. The subsequent rebuilding both "as it once was" as well as a complete modern reconstruction ultimately suppresses memory seemingly creating a sense of utopia.

Using a sewing machine, fabric and paint on raw canvas, and inspired by aerial view landscape drawings and maps, I invent 'plots' that are neither true abstractions, nor complete landscapes but navigate between interpretative poles. With a limited palette and through an improvisational approach, these works are large in scale and hint to an unfamiliar impossible space, a space that allows viewers to detach and contemplate their relationship to the external world. I seek to connect the dichotomy of the cold, analytical masculine subject with the appropriation of traditional feminine materials, adopting a sewing machine as a mechanically precise drawing tool.

My most recent stitched works are inspired by the evolution of urban landscapes and how it ties to memory, focusing recently on New York City's topographical evolution. I use Google Earth and archival images to collect my data and use this information as a starting point to create this invented series of urban renewal projects. The works are still done through improvisation pointing to a heterotopic, neither here nor there vision of New York; an unreality based on a utopian inspired ideal.

Reinventing spaces and urban topographical landscapes through installation has also been the primary focus of my work for the past few years, using thread and string as a common medium. Silence and Sound, 2013, is a musical interactive installation for the exhibition "Instrument" at Kulturmöllan in Lövestad, Sweden. Using the architecture of the mill as a starting point, I created this piece using nylon strings, breaking up the space while reflecting and absorbing the light, making this an instrument of playable silence and sound. This installation functioned as a playable instrument, where each string resonated the deep bass sound of the vibrating string.

In the installation Divergent Walks; Gridded Cities, 2013, done during my residency at The WYE in Berlin, I took a selection of walks from 30 days in New York City and in Berlin and mapped out my routes as a starting point in creating this improvised installation of a hybrid city. These walks are the framework of this impossible topographical urban space merging New York's grid system; coded with black tape, with Berlin's divergent paths using blue tape. I'm curious how a city is laid out affects the collective consciousness. Does the New York grid, which has no room for diversions, wandering, and getting lost have a parallel to the lives and thoughts of its inhabitants? Directness, efficiency, and concerns of 'time is money' are all key attributes to those city dwellers. Outside the new world, urban planning was built upon layers of rebuilding where the streets are an accumulation of past, present and future possibilities. These indirect paths, which encourage digressive walks, affect the collective consciousness of the people allowing for detours and wandering thoughts. How would the essence of Berlin be different if it were built on a grid system and would the consciousness of New Yorkers change by walking in diagonals and strolling in meandering paths?

Using masking tape, yarn and thread, I created Valparaíso Studio, 2012, during a residency in Spain where I began by drafting an aerial view of the interior space including the wooden beams on the ceiling and loosely translated the drawing as a 3D installation, reflecting, while at the same time intercepting the interior space. I'm interested in simultaneously visualizing a space from the top, bottom, and side angles, playing with our notions of perception.

A form appears physically abstracted yet remains fundamentally intact when viewed from the top. Figures become simple shapes and are reduced to their essence by the absence of all ornamentation. What’s left is a summary that stands, providing a clarity in interpreting images. No distractions of face, eyes, smile can hold the viewer but instead a curiosity of what's there. An aerial view freezes a moment in time by taking the viewer into an unfamiliar dimension; out of the grid of ordinary space. This suspended moment leaves the viewer to examine what's beneath thereby achieving a perspective in his relationship to these external elements. Having the observer realize his insignificance and vulnerability opposes his usual relationship to his common environment. Ultimately, by steadily viewing figures from the top, a tension is created in which the observer seeks comfort in ordinary form.

Taking political images presented to us by the media, which are ironic at times and seemingly harmonious, I seek to observe them through a visual analysis and a process of mapping the scene out. My process is akin to an investigation: I investigate words, dates, images; some with humor, others more profoundly. The blueprint drawings are used to interpret these images and consider their underlying, covert meanings.

The top view exploration continues in my work using well-known classical and contemporary figurative paintings. This series of drawings begins by technically creating a top view to an original old master figurative painting, creating an unseen dimension to what are familiar images. I'm curious to see these paintings as actual 3-D scenes with a top, bottom, and side, questioning the truth in representation. By starting with a manual drafting I improvise the actual depth of the images; taking what the artist has put in as guidelines and allowing myself to 3 dimensionalize the original 2-D scene. In having a dialogue with these paintings, I technicalize something so ethereal and approach it as I would if I were designing a product or building. I imagine myself as a fictional draftsperson of the painted scene, where the blueprints I create could have, in my imagined scenario, become the basis of a plan for the original artist to use in creating a top view painting.

My paintings are an interpretation of an imagined top view within existing paintings. Within each of my painting there are three distinct layers; technical form, abstraction, and painted detail that in combination create an oscillating effect between figure and ground. The technicality of the blueprints juxtaposed over painterly form creates a visual tension that halts the lyrical quality of the painting.