Sew Witch '08-'09
The sparse and mysterious picture planes of the Sew Witch series present an ominous realm of magic, transformation and dangerous femininity.
Graphic references to sewing repeat throughout the work and embed the images within the western tradition of “women’s work,” while simultaneously gesturing toward the ability to construct and transform one’s appearance. In some moments the sewing pins, needles and scissors appear to belong to the figure, lending her a menacing agency; in others they seem to turn on her in a swarm of activity or a coolly posed threat. This contradictory and precarious positioning reflects how embodying transformation can serve as a site of empowerment and pride as well as a site of isolation, a target.
Existing in an all-surface picture plane the figure’s primary spatial interactions occur with a set of silver metallic geometric forms. These metallic shapes play an important role in conjuring an atmosphere and geography for the work. Their relationship to the figure suggests depth within an impossibly flat non-location. The form’s metallic nature defies standard RYB, RGB and CMYK color systems, adding to the magical air of the work, while their reflective surface demonstrates the mutability of appearance, creating a level of instability.
The metallic fragments seem subdued in some pieces and frantic in others, reflecting or indicating something about the figure’s mood. If we think about these shapes as a physical manifestation of the figure’s supernatural power, they can be seen as giving form to magic’s kinetic charge.
The subject carries a potent agency while also possessing a deep sadness. The viewer encounters her in a mysterious non-location, a territory she seems comfortable in even if it is not completely welcoming or safe. The surrounding dangers belong to her, even as they threaten her. They seem willing to submit to her bidding and would have no qualms turning their sharpened points on the viewer.
Graphic references to sewing repeat throughout the work and embed the images within the western tradition of “women’s work,” while simultaneously gesturing toward the ability to construct and transform one’s appearance. In some moments the sewing pins, needles and scissors appear to belong to the figure, lending her a menacing agency; in others they seem to turn on her in a swarm of activity or a coolly posed threat. This contradictory and precarious positioning reflects how embodying transformation can serve as a site of empowerment and pride as well as a site of isolation, a target.
Existing in an all-surface picture plane the figure’s primary spatial interactions occur with a set of silver metallic geometric forms. These metallic shapes play an important role in conjuring an atmosphere and geography for the work. Their relationship to the figure suggests depth within an impossibly flat non-location. The form’s metallic nature defies standard RYB, RGB and CMYK color systems, adding to the magical air of the work, while their reflective surface demonstrates the mutability of appearance, creating a level of instability.
The metallic fragments seem subdued in some pieces and frantic in others, reflecting or indicating something about the figure’s mood. If we think about these shapes as a physical manifestation of the figure’s supernatural power, they can be seen as giving form to magic’s kinetic charge.
The subject carries a potent agency while also possessing a deep sadness. The viewer encounters her in a mysterious non-location, a territory she seems comfortable in even if it is not completely welcoming or safe. The surrounding dangers belong to her, even as they threaten her. They seem willing to submit to her bidding and would have no qualms turning their sharpened points on the viewer.
