Fingeryeyes (2023– )
Fingeryeyes is a record of my engagement with the plants, animals, insects, and matter in a particular place: a native prairie plot, a bird sanctuary, a plant nursery, a patch of urban vegetation. Each photo-textile is an exercise in sustained attention to what is growing, living, and dying around me. The title and process of the work is informed by Eva Hayward’s formulation of fingeryeyes, a haptic-optic observational methodology for viewing/ touching/ sensing/ feeling cross-species encounters. After photographing each site and editing the files digitally, I cut and treat sheets of fabric for inkjet printing. The printed images are then washed, ironed, trimmed, sewn, serged, smocked, embellished, and embroidered. Extensive handwork draws out the initial photographic encounter, thereby challenging the way we perceive digital images — as clear, bright, smooth, flat, and dematerialized. It also advocates for a slower consumption of digital images. The process aims to disturb the binary between seeing (suggesting disembodied distance) and sensing (connoting proximity and contact).