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For the past ten years I’ve been making work in which I staple found textiles to the walls using thousands of metal staples. Parts of the fabric and the staples are then removed and sometimes reapplied, leaving a residue of shredded fabric and perforated wall surface in some areas, and densely stapled and built-up areas elsewhere. In these “drawings” staples act as mark and material, penetrating, distressing, and ornamenting the skin of the wall. The progressively dematerialized image, articulated by metal staples and fabric residue, seems to be simultaneously emerging from and disappearing into the wall. The stapled “drawing” mimics the patterns and weave of the fabric, and a kind of binary language emerges—staple being analogous to stitch. Large bedspreads reference the monolithic rectangles of abstract painting as well as bed and body.