Iíve been photographing self-portraits since I was fifteen years old. My photographic work has become an evolution of daily life experiences printed onto photographic paper; I am creating a kind of diary of visual expressions of my thoughts, feelings, and deepest regrets. The work always has a direct relationship to my family and the ideals of the Southeastern United Stated where I was born and raised, in Florida, Kentucky, and Georgia.
I look at postwar domesticity through a modern-and distinctly feminist-lens. By incorporating 1940s and 50s food, household objects, clothing, and accessories into my work, I try to evoke a feminist consciousness, while at the same time reflecting on how the media has portrayed the roles of women domestically over the past sixty five years. Iíve used iconography from the popular culture of the ‘40s, and ‘50s to make nostalgic and penetrating statements. Using vintage cookbooks, magazines, advertisements, and other printed materials from popular culture for the sources of ideas to recreate my images, piecing them together as “slyly humorous” commentaries on suburban life. I try to shape my work like puzzle pieces rearranging elements into an alternative configuration that which Ö fits together to seemingly form rosy pictures of suburban contentment, until you take a closer look.
I work on the premise that “meaning” is going to be discovered through experimentation with a variety of materials and processes within the pursuit of relevant ideas specific to my interests and world perspective. My practice has always been process orientated, with process often becoming a metaphor for experience which in turn conceptually frames the work. My work addresses issues of domesticity and explores the meaning and value of female domestic experience. Importance is placed on the notion of ëeverydayí and suggests that stories emanating from within the home have great significance: socially, politically and culturally. I am tracing the visual articulation of domestic experience.