CLOTH

CLOTH


My early studio practice explored the sculptural possibilities of cloth constructed around the armature of the body. In recent years I have returned to this strategy in a new arena—the stage. My work exploits the volatile, kinesthetic properties of cloth to energize the visual impact of dancers’ movements, expands the three-dimensional contours of their bodies, and geometrically maps their movements through space. Experimental or traditional, these costumes are heavily researched, employing historic models and cross-cultural philosophies of color and materiality as modes of meaning.