Happily, my installation plan for Intertwined continues to evolve, a process very much in keeping with the modus operandi of the Method Gallery. To quote Gayle Clemans, Seattle-based art critic and historian:  “The gallery is collaborative, curatorial process that focuses on artistic processes.”

I’ve taken those words to heart, as I continue to imagine the tactile landscape that I will give birth to once I’m in the space.

Creating Intertwined is re-connecting me to philosophical inquiry that I began a decade ago, while studying for my BFA in sculpture. The title captures my interest in intertwining the materiality of what I create with its symbolic function as “a line of time.”  The process of creating the work poses a question to me as an artist: How do I come to know what I know about the world by translating what I see into a visual narrative, which combines the making of my hands with the working of my mind?

My exploratory method of engaging with materials correlates with the concept of wayfinding. This is a term used by anthropologist and scholar, Tim Ingold—whose books, The Life of Lines, Being Alive and Making, currently inform my thinking.  He defines wayfinding as a way of knowing that “unfolds as we go,” not before we go with an emphasis on the phenomenological experience of “knowing from the inside” (I relish his phrasing) by “following the lines of flow” … and handwork as a way of “binding our own lines of becoming into the material which comprises our lifeworld.”