The Design Museum’s 1993 exhibition, Ideal Homes, hearkened to the turn of the twentieth century when the concept of a good home became predicated on acquiring good design. Its “The Back of the Kitchen Drawer” exhibit brought design objects that were marketed to the public and purchased by individuals back on display. The owner’s testimony was included alongside the object, providing insight into the relationship that they developed with their thing.
I consider design, how it functions, as well as question what are its signifiers. I’m most interested in how the concept of good design came into being, has proliferated, and became synonymous with maintaining a household.
My work is about the uncanny that we encounter day-to-day and that reconciling this within our interiors is how we construct a sense of self. I think about the emotional dependence that develops from using and being situated amongst the material belongings in our homes. As a metalsmith, I’m invested in labor’s ability to communicate and consider the use of materials, application of patterns, and particular techniques as physical manifestations of melancholy, failure, monotony, and routine. In the same way that personal associations with objects in the home develop from our daily or occasional interactions with them, my work occupies space in a way that is reminiscent of the feelings we experience within our dwellings, surrounded by our things.