ARTIST STATEMENTThe word ‘thread’ is often used to represent continuity, of an idea, a theme, a life. Thesimple repetitive action of interlocking threads and joining pieces and sections togetherto create something whole, repeated among generations, handed down and shared,chronicles the continuum of life. My obsessive relationship to the the making of clothand lace structures blossomed in my childhood. The drawing of threads, connects meacross shared generational labors to the greater multigenerational consciousness ofwoman-kind who’s structures have preserved humanity through the creation ofmagnificent cloths. These works of found and newly created lace and crochet structures initiate a visualrebellion investigating the realms of feminism through the lens of artistic exploration thatrevolves around dismantling preconceived boundaries, challenging the traditionaldemarcation between craft and fine art. In a society where these distinctions are ladenwith gender biases, these endeavors, often associated with women's work, have beendismissed as merely functional or decorative while the conventional celebration of 'fineart' has disproportionately favored the creations of the white male artist. Combining garden variety lace forms and newly created knitted and crochetedstructures with gleaming metal leaf and patinated finishes, these artworks suggest thefine art sculptural forms created from cast metal, the antithesis of the etherial and fragilelace structures born from delicate fingers of the hands of women throughout time. Theybecome dynamic expressions of contradiction, embodying the multifaceted nature ofwomen's work and artistic creation. Using the architecture of the wall, they break free ofthe constraints of tradition, turn feral and transcend conventional boundaries, invitingthe observer into an unfamiliar dimension where the delicate intricacies of lace andcrochet unfold, disrupting narratives that have in the past relegated utilitarian creationsto the periphery. These undomesticated laces become seductive adorations of long heldtraditions and the labors of millions of women over millennia. In their final transition; the alchemical process of lost wax, laces are “lost” immolated ina fire of cremation and transformation. These newly spawned “laces” are the antithesisof delicate structures constructed of fragile spun fibers. They are exquisite, fragile,threaded structures frozen in time, in metal, capturing the perpetual feminine drawing ofthread metamorphosed into the immortal. The phoenix from the flame, the metaphor oftransformation and re-birth, renewal and immortality; The SHE