Which tools did you use for the creation of this piece?
Ink jet print, rice glue, canson watercolour paper.

What was the creative process behind it?
This piece was an exploration in manual glitching. By weaving a photograph together over and over again, the image degrades and takes on the effect of pixelation.

What feelings come to you when you look at it?
The image takes on a gloomier, more stark quality as the image is scanned in and woven again. I enjoy this process as each iteration of the woven work is unpredictable and uncontrollable, thus a level of acceptance must occur once the work is finished.

“The grid is significant in all of my works as a contemporary theme for mapping place, deconstruction and piecing together.”

What do you like most about this piece and why?
The part I like most about this work is that it feels like a battle between memory and loss. By weaving the photo together, I am trying to piece it back together and understand the subject matter but at the same time, the image degrades and it feels a lot like trying to hold on to a memory that is already fading.

What were your references, influences or inspirations during your creative process?
I was influenced by Optical Art and glitch photography. The theorist Hito Steyerl has some great writing on the poor image that was inspiring to my process.

What did you enjoy the most about the process?
The process of weaving together paper takes a lot of patience. I find myself getting into a deep state of calm and contemplation as I undertake weaving works.

What was the hardest thing for you and how did you solve it?
The paper I was using was delicate and I found myself struggling to keep it from scuffing and tearing, but overall I think this adds to the degraded effect I was seeking.

Where would you like to see it exhibited?
I haven’t thought much about where I would like to see it exhibited but I think it is most important that it hangs as a triptych on a simple white wall.