The time part is really key to my process. I’m really referring to it a lot in my work and trying to figure out how to use that. I think what I do as an artist is what all artists do, I make marks. Each bead sewn is a mark made and people understand and relate to it that way. When you are thinking about how best to use a medium to convey an idea, you have to engage that somehow. I’m getting away from using color as much, or using it in a very sparing way - it helped focus on those marks. Then see the mask of the beads and thread, I think the thread is as important as the bead. The glass beads offer a certain preciousness, but I think the thread that binds them together is a part of that mark made and the accumulation of alll those tiny marks and that second skin that holds the object. I think I’m getting closer and closer with the objects I’m creating now to understanding how best to speak with the tools I use. It’s been exciting for me.
In my father’s room I opened the drawer next to his bed. I removed it and approached the waiting garbage can. I could see no l reason to save its contents. I began to tip the drawer, but then changed my mind. It was suddenly unthinkable to live in a world where this collection of inconsequential personal items did not exist. In that moment, these items represented all the security and feelings of stability that I associated with my parents. I returned the drawer and its contents to its table and brought them to my home.