My current practice of creating math generated work and crocheting fiberglass began in 1992 when I started making sculpture that dealt with abstracting narratives of identity. Within this context, an exploration of fi berglass and resin led me to crocheting fiberglass roving (1997). Years later, the same pursuit led me to start mapping patterns from math sequences.
Because the fiberglass work is all consuming, over the years, my drawing hand has virtually disappeared. After the math took over the fiberglass, and the work leveled off to a comfortable place, I began to crave the reconnection to 2D work. Math is the transition point. The 2D work comes in infrequent small bites, mostly as introduction to new materials and techniques. The 2D work has miles to go, and for better or worse, you get to watch it develop.
I create my own fiberglass cloth by crocheting continuous strands of fiberglass into flat geometric shapes. These are formed and hardened with the application of polyester resin and the use of gravity. A visual articulation of mathematics is used to generate random visual patterns through form and color distribution by utilizing the grid, Pascal’s Triangle, and sequences from numbers pi or e. Larger works are straight forward, more obvious, interpretations of each digit, while the source math in the small works is less evident.
To create a new work, I create a system. I choose a number sequence from the numbers pi or e, or a section from Pascal’s Triangle; define a specific method for articulating the digits; define colors and a sequence for the colors; and follow the plan to create the work.
In terms of identity, math is the underlying principle in all of life and, as the search for numbers went on for thousands of years, numbers represent the human search for knowledge. Also, all cultures seem to have their own lace tradition. If identity is a hybrid of our heritage, then lace is, as tradition of time, labor, and creativity, one tiny point of intersection that connects us all.
The greatest kinship of this minimalist work is rooted in aspects of the Bauhaus movement and aesthetic as it fuses the gap between art and industry and combines craft, fine art, and language of architecture; with a deep respect for the logic within the works of Ellsworth Kelly and Sol LeWitt.