Your work has changed quite a bit over the last year. It's more mature, I think. What happened? "I wanted to get past my old work. I was doing those pieces where I traced my whole body, and I wasn't happy with using the body to talk about the body. So I went back to where I started, which was tracing my feet. I thought that was the most interesting part--your feet kind of sum it all up. The old work was so surface-oriented: outlines, and they were about what you think about the body. I wanted to talk about the weight. First I did this silly thing where I stitched two canvases with traced feet together; it didn't work, but when I looked between the panels, I saw all the stitching I had done. So I took it apart and stretched it, pulled it apart."

What about the sewn-together office supplies? "I had been collecting those envelopes when I worked in the mailroom at Daniel Smith. Then I inherited this sewing machine from my grandmother and I started sewing things together: envelopes, bus transfers, twist ties from the grocery store, plastic bags. The 'collected time' part of the show is about trying to find time to make work. For a while I was trying to make work at work--the paper clip chain, the file stamps, things from the copy machine--but I had to stop. I was knitting at the front desk and they don't like that."

There's also time in those pieces, like calendars, the way you mark your days one envelope at a time. "It's like trying to piece together all the time you take for granted, doing things that aren't art-related, trying to make your whole life art."