The traditional quilt block serves as a foundational element, providing a structured framework within which to explore the interplay between two-dimensional and three-dimensional forms. This tension between flatness and depth is a recurring theme in my practice, and the quilt block offers rich terrain for experimentation. 

These geometric patterns, steeped in centuries of history, carry with them a set of conventions and rules both intriguing and alien. As someone who didn't grow up in the quilting tradition, I approach these forms with a sense of curiosity and rebellion. The arcane guidelines governing their creation become a point of creative friction, allowing me to engage with and subvert these established norms.

Historically, quilting has been perceived as a predominantly white, female craft in my cultural context. By adopting and adapting these forms, I'm engaging in a dialogue with a tradition that feels simultaneously familiar and foreign.

These unfinished quilts, that are now blocks, having absorbed considerable time, effort, and creative energy, stand as poignant metaphors for unrealised ambitions and discontinued pursuits. The meticulous process of selecting fabrics, designing patterns, precise measuring, cutting, and sewing, all left incomplete….

In repurposing these quilt blocks, I'm not only exploring formal artistic concerns but also grappling with themes of failure, persistence, and the recontextualisation of creative efforts. 

Through this engagement with quilting traditions, I'm playing with ideas of cultural divides, preconceptions about craft and fine art, and creating a visual language that speaks to both personal and universal experiences of creativity, ambition, and the complex emotions surrounding unfinished projects, knowing when to move on and the impermanence of time.