I envision Paris as the heart of lingerie production and female sexuality. This piece begins with an abstracted image of the Eiffel Tower and moves into a pattern for a 16th century corset and is finally completed by the modern-day example of the corset.
Over the years, the meaning of the corset has completely changed; it used to be seen as a practical part of a woman's wardrobe, now it's a sexy piece of lingerie.
In Welcome to the Fair I use an actual turn-of-the-century corset to metaphorically bind both the text and the image that are stitched in it.
Untitled combines the abstracted (and reclined) female figure with elements of sexuality as represented through the use of organic shapes, symbols and palette.
A Feminine Response is my take on Robert Rauschenberg's Bed (1955). Rauschenberg's cool palette and masculine brushstroke seemed to me to ignore the implications of the bed as a symbol. The bed is such a loaded symbol that I felt it could not be divorced from sexual need, intimacy, and, at times, acts of violence. This piece is an attempt to make amends for the omissions in Rauschenberg's work, as it incorporates and celebrates its sensuous aspects as well as its propensity for potential violence.