My technique of ‘mapping’ objects through the use of sewing patterns allows for the recreation of multiples in alternate materials and scales. The process of fabricating the deer sculptures begins with the actual drafting of sewing patterns from life size models. Through this process of breaking an object down and translating from 3 dimensional form to 2 dimensional parts there is a relationship that begins between object and artist. It is not only the method by which they are made, layers of meaning peel back as the process becomes a meditation in repetition. Through a laborious process of repetitively recreating each deer, piece-by-piece, I as the maker become intimate with the subject. This furthers the understanding and connection to each form and it’s every nuance. It is not only the fabrication process employed but it also serves as a way of developing the relationship between artist and iconography.
Mapping Absence, is about the remnants of loss. The object acts as a guide; it is a memory of the passing into ‘elusivity’. By creating these animals in clear vinyl, cast plastic and sheet acrylic I am speaking not only to what is there but what is not there. It is the skin, the shell, which is recreated, they do not, nor are they meant to stand solid as the original buck did. Instead they draw attention to that which is absent. They levitate in the air as ethereal as clouds, mystical like memories or ghosts. In some ways these objects are both there and not there, it is what the presence of absence looks like and ideally it speaks of absence and presence in one breath.