The weaving process inherently holds a linear and mathematical grid. Dye work is free-flowing, and it does not maintain a grid. My method of weaving an image, both time-consuming and reflective, produces the particular effect of a ghost print. It involves weaving, unweaving, and reweaving fully dye-painted cloth. There is an allowance for both full control of the threads and disorderly overlaid patterning in the way the image comes together in its final form. This causes the woven grid to shift, and the image to pixilate, while retaining familiarity. The result is a translation that acts as an interpretation of an event.
As an immigrant, I have found my place through understanding culture and place. This began with my past work, which dealt with personal identity through memory and family history connected to England and Sri Lanka. In recent years, that focus has shifted to exploring broader overlapping concerns that intersect with identity and social issues. Building on ideas of perspective and perception developed in my past work, my current imagery attempts to understand and ask questions about who and what makes up society around us, to see where bridges have broken down, and to find how they can begin to be built.
The memories we recall can be intentionally or accidentally distorted, changing without our realization. When memories are retrieved, they fuse with other memories to produce an unclear view that sits between truth and fiction. As a memory is recalled, it becomes layered and reshaped by the chemical process of retrieval in the brain. It is my hope to visually capture these ideas within my work, showing the intangible aspects of memory.
My new work is about finding a way to comment on issues that invites conversation and further investigation on the part of the viewer; finding a visual way to help people engage themselves and others in discussions on the social issues of injustice, equity, poverty, and prejudice.
To see a video of how I create my woven imagery click the button above.