Struck by the poignant anonymity of the Historic Northampton Museum's daguerreotypes I scoured flea markets for similar images which I then altered with raw and idiosyncratic stitches that call attention to the Unidentified Woman whose name is long forgotten. This obsolete photographic process aligns with today's social media; both are means that allow people to alter their public identity through the curation of carefully chosen images. Stitching together past and present identity politics and inserting an alternative chronology where expression replaces suppression and sewing equals activism.
There is a micro/macro statement that mirrors the larger cultural forces that have contributed to the expansion of identities possible of women. Unidentified Women fuses personal experience with ideology to create work that contributes to the progress of both art and feminism.