The materiality of this work is meant to captivate and ensnare the audience. As one travels through the composition, looking for a safer passage, they might linger or capitulate to disorientation. The wrapping and weavings indicate the way that anger and frustration function to constrict movement and mind. The projecting wooden fingers reach out as if to test the air, searching for a solution, a salve, as a suggestion in order to remedy the present situation. Skeletal and sinuous, the work suggests that it may be alive or had been at one point, the blackened morbidity of its frame alludes to a corpse. Contending with a year full of fear, loss, grief and confusion, the work became a personal challenge to integrate a variety of techniques within my studio practice into one piece. By synthesizing these techniques with a particular focus on how to extend drawing into space, the piece is really a guide to surviving the moment. The question became, “How to manage a heavy, cumbersome anxiety about the present time”? Use what you know, apply it to navigate the situation. A convergence of wire and wood, fiber and painting coalesces into a layered and complicated composition. It depicts the matrix of a year mired in death and social contention. Simultaneously, it maps out how to traverse barriers like apprehension and creative paralysis through utilizing multidisciplinary practice in order to arrive at the other side.

• Yeah, I’m Doing Great