I am drawn both to the temporality of performance and to the stability of the art object. For some twenty years, I created set and costume installations integrated into the choreography and sound of contemporary dance performances. My current work draws from these collaborations but shifts from the theater to self-contained artifacts, often fabricating evidence in the absence of an event. Here the “set” and “costume” are displayed as relics remembered in subjective time. Photographs and drawings printed on fabric serve alternatively as the surfaces of the sculptures or as their background. All retain a distinct touch of the hand, and the time of laboring by hand alludes both to domesticity and to history’s connective tissue. These sculptural installations are not clothing: they are costumes containing the essence of the performer who has left the stage. This allusiveness is what interests me in the dialog between art and performance— that an object on the stage shapes narration—but is, ultimately, a souvenir of the experience, as an art object is a reference to it’s own making.