The Coverings sculptures are related to my ongoing interest in concealment—an interest arising from the observation that some objects are rendered all the more conspicuous by efforts to hide them. Sloppy attempts at disguise and camouflage—a cell phone tower disguised as a tree; a faux rock for hiding house keys—lead to visual absurdities. Masks and veils merely pique curiosity, offering an invitation to the viewer to complete the image. Through these works, I’ve made the shroud itself the subject.
The process of weaving used to create the Coverings connects with traditions of craft. The sculptures hint to a utilitarian existence while falling short of explicitly expressing a purpose. Instead, the Coverings bring about multiple associations—tents, military camouflage netting, and architectural spires. They conjure ideas of shelter, containment, costume, or something more sinister. Yet what they cloak is hardly out of view. We are forced to encounter the Coverings as a paradox—both veil and object, which continually shifts our focus between what we understand as the surface and what we expect it to hide.
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