Furfeathers, 2004 , presented in the context of the exhibiton Fray, Koffler Gallery and Textile Museum, Toronto, 2006
Furfeathers, 2004 , feathers and artificial fur, size variable
Furfeather acts as a manifestation of the ephemeral nature of experience, memory and time. It is a comment on what might have been a visceral experience yet what remains to be looked at. The piece suggests a feeling of simultaneously being outside and inside a body, being and not being part of it, having and being denied access to it. It is located in the moment when a private, intimate matter becomes externalized, when it turns into a memory or a dream of a bodily sensation. There is a slippage between what is animal and what is human. The sensuality of the materials is destabilizing notions of abstraction, instead infusing the piece with psychological connotations. There is a deliberate shift away from weighty substances and complex processes associated with traditional sculpture towards non-traditional and idiosyncratic materials.
Fray, The Koffler Gallery and Museum for Textiles, Toronto, March 2007
Hannah Claus, Jeanne Thib, Sarah Stevenson, Cal Lane, June Clark, Susan Detwiler, Susan Schelle, Rachel Echenberg, Therese Bolliger, Millie Chen, Nadine Myre, David Merritt
Ambit, 2004 , eye lashes and thread, size variable, Oakville Galleries, presented in the context of the exhibition Four Echoes, 2009
A second piece references the body in its essential state as a living being (or once living being). The word “ambit” is partially defined as an external boundary, a boundary between the body and its surroundings , the external world. In this context it might suggest a body separated from itself, tending towards an independent entity. The distinction between being in a body and being a body to someone else become blurred.