I have moved an average of two times every three years, which has reinforced the transitory notion of home and allowed for periods of intimacy with a variety of domestic architectural spaces. Photography provides permanence. My photographic practice is also heavily influenced by a decade and a half of extensive dance training, competition, and performance. Both my mother and father are artists as well as educators specializing in textiles and architecture/design, respectively, and are significant factors in my acceptance of my own artistic practice.
I perform and choreograph for the camera. The resulting photographs are thus the direct documentation of these performances. A majority of my photographs can be considered self-portraits, as the photographer is also the performer, and thus simultaneously subject and operator. My motivation to use myself, however, is to recognize the photographer’s body as an essential component of photographic process along with the camera lens and photographic film. By placing myself in front the camera, I create a closed, recursive system. Spatially, the distinction between the subject and the operator is erased and the tenuous line remains temporal at best. This references the Borgesian notion of the removal of the distinction between exhuming and inventing the context of artifacts. When others take my place as the performer in front of the camera, I act as a collaborator and/or choreographer acknowledging the importance of their bodies in the photographic process.
The Garment Project relies heavily on costumes, which help to determine the subject’s character and define the subject’s movement. The costumes are burdensome and have proven themselves dangerous. They allow the wearer to slip into a realm of fiction so that small kernels of truth can begin to be unearthed. Fabric and skin, enclosures for the human body, as well as the objects these enclosures brush against are components of a performance-based language, structures with which we communicate. My photographic series thus attempts to induce a self-referential fiction. Without the photographs, the performances would have no physical residue. Without the performances, the costume and objects would have no direct activation. My photographs are thus the product of collaboration between the body and the lens.