Title Origin: A recently discovered note left for me by my paternal grandmother, Carol, on the back of a thank you card I sent her after my high school graduation. Image Origins: Film photograph from my paternal grandmother’s second wedding to my grandpa, Bill McDannel, standing with her sister Joann and their brother Tom; golden birds she had on display in her home that I now have in my own; cellphone photo of my hand.
I’m the lucky one
$2,000
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STATEMENT
As a pre-teen, I formed my IRL identity alongside my online persona. For a while, these two girls grew parallel to one another. When the IRL girl started changing physically and becoming unhappy with her body, the online persona could hold on to the youthful body and image that she started with. It was then that the fragmented woman started to form. The work that I create is a repeated exercise of trying to bring these two women together to establish new common ground. Thus far, that task has been immense. I expect that these women will someday collide again, but for now, the closest they get to each other is within the work. The works that I create always begin from an archive. Whether that is a quick 5-minute photoshoot with myself and my iPhone or a trip to my family film archive, I always start within a series of images and work to exhaust it entirely before moving on. Having the power to control which imagery is implemented in the work is the nearest feeling that I can find to managing my image. In the digital world of the internet, we sacrifice all aspects of control. I have the most power in my world. The techniques used are often rooted in quilting. This specifically references the act of quilting -sewing layers together and creating repetitive shapes. The broader history of quilting involves women working collectively on projects. My practice is intentionally a solo effort intended for meditation.
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