These photographs show the work as it was at the beginning of 2011. Using a frame to both restrict and support interested me for both the physical possibilities it provided for my practice and for its relation to my theoretical interests. For me, conceptual frameworks (e.g. the terms 'art history' or 'art' or 'politics' - when used to implicitly exclude certain genders/races/classes/sexualities etc.) have the ability to construct theories that exclude, even if invisibly, while they make their claims. Purpose, function and structure intrigue me in relation to frames and claims.
Since these photos were taken I decided I wanted something more clean cut about the work so invested some time in sanding away the rust from the back half of the frame. The metal underneath is quite beautiful. Someone suggested to me recently that this did the same to the frame as I do to the knitting within my work i.e. reveal something about a material's potential that is previously hidden.