I am unsure as to when and how my fascination with a] Russian Constructivism developed, but I find that aspects of these pop art posters appear more and more in my own work. There is a layering of graphics that upon first glance goes unseen; perhaps reading the image as a whole, then noticing the distinction of colors, unobtrusive text, shapes, and background.

I admire the Construction artists: Rodchenko, b] Malevich and Kandinsky who really evaluated the presence of shapes among one another and the spaces they create. I am an individual who seeks to understand the whole through the pieces it is composed of. An idea which in architecture, means revisting the basic c] geometries of a space.

By first seeing her work in the MFA, Julie Mehretu immediately stood out to me as having some correlation to the work of the Construction artists, but in an even more contemporary time period. I often return to this painting of hers, Stadia I, from 2004 because I can see that she was taking the geometries of architecture to make art. Here, too, is a layering of architectural drafting, graphic pop, shape, and space. The work of Zaha Hadid for the Peak Leisure Club holds a similar but adverse idea. She chooses an unusual means of d] representation for describing the project. In this way, Hadid uses art to make architecture.

I have a fascination with texitles and e] pattern. How patterns within a textile are joined together to create a super arrangement. I experiment with this through sewing together patterned geometries, often times using a pattern I’ve found in a work of architecture, like Federation Square by LAB Architecture. These projects can go beyond a blanket, for example, having the integrity to form more three-dimensional pieces. f] Illustration has also permitted me to create my own textiles.


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