My ambition is to question and confront the biological beliefs embedded in cultural materials to progress and make art.
My use of pattern developed from my interest in the repetition and spatial relationships found within microbial anatomy. I developed a series of cellular figures through personal introspection, which led to a concentration on their relationships to one another over their manifestation. It was in the vacancy between the characters howeer, that I developed rhythmic and sequential forms similar to thoses in geometrical patterns. In the symmetry of the patterns I began to measure and define space, using them as formats to explore the relationships between the biomorphic matter. As the properties of the patterns became limiting I turned from fabric to paper, manipulating the geometric patterns digitally and physically before painting the biomorphic forms.
Afer considering the origin of the patterns I was using, their historical context redefined my concerns. What attracted my attention most were Islamic patterns that were created under the ban of human representation in art. This disparity has led me to question if I am exposing preexisting biomorphic forms, or if I am impregnating the patterns with biological matter. I also question whether or not it creates a conflict between the belief systems the Islamic patterns support and a condemned idolatry due to the personal expression. It is this engagement of pattern and biological form, which initiates and propels my work forward as I question the principles of objectified materials between conflicting cultures.