Lace I. 2017, 33 x 40 inches, ink on lace

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Lace II, 2018, 16 x 20 inches, ink on lace

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Lace III, 2018, 33 x 40 inches, ink on lace

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Lilith (Veil), 2018, 24 x 30 inches, ink on silk, quilting hoop

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Quilting Hoops I-V

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My Back, 2017, 60 x 80 inches, ink on woven microfiber

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My Body, 2017, 60 x 80 inches, ink on woven microfiber

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My Palm, 2017, 50 x 60 inches, ink on woven microfiber

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Chewing, 2017, 50 x 60 inches, ink on cotton tapestry

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Sex Object I, 2017, 22 x 22 inches, stuffed microfiber

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Sex Object II, 2017, 22 x 22 inches, stuffed microfiber

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Hair Tie, 2017, 23 x 23 inches, stuffed microfiber, embroidery thread

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Shadows, 2018, found dress, ink on silk, embroidery hoop

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Listening, 2017, 44 x 47 inches, ink on satin silk robe

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Crying, Crying, 2017, 44 x 47 inches, ink on satin silk robe

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Jewish Profile, 2017, 44 x 47 inches, ink on satin silk robe

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Installation View

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Installation View

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Installation View

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Construct of Viewpoint

Construct of Viewpoint is a body of work made up of photographic self portraits printed on various textiles in exploration of female presence, identity, and assertion.


When a self portrait photograph is created, so is a direct connection between the artist and the subject matter. The maker of the image is the purpose.


The opposite is said for a large portion of traditional textile works. Largely women oriented, seamstresses created and circulated pieces often reflecting their era or customs without necessarily an insertion of their personal identity. The textile work itself was so heavily influenced by the woman’s hand during the production process, but the identity of the maker receded once the piece was out of her hands. Somewhere between the actions of creation and presentation of the object there is a loss of explicit identity attached to the work.


I’m interested in incorporating this premise with that of contemporary self portraiture photography, as an exercise of advocating female identity. The integration of self portraiture and textile grants a clear authority over the female body. The works have no separation between maker and finished object. In this sense, it is an act of power for the female to relentlessly insert herself into her own work. From its creation to its public reception, the female is observably present.

Using Format