I am interested in imperfection, growth, movement, and improvisation, as concrete attributes of vitality. I understand my impulse to manifest these qualities in my work as a sort of resistance to the generic, impersonal perfection and mundane predictability of the machine/information age.
I also find myself increasingly focused on the role of the body and time as both constraints and essential features of materialized vitality. My current work explores this tension between the dynamic, bursting power of the present moment and the contingent, fleeting nature of that power.
I am also coming to understand my current work as an inquiry into the nature of material form itself, with a particular focus on the slippery borderlands between accepted binaries of reality. Solid/permeable. Separate/whole. Fluid/static. Active/passive. Present/void.
I use a wide range of materials and objects gathered from my environment in this process. I am particularly attracted to materials and objects that reveal a history of use and convey a visceral, palpable materiality. I favor materials that respond to direct processes and preserve visible traces of their handling, including wire, rope, fabrics, plaster, clay, wax, and concrete, and those that can be manually manipulated between states of fluidity and solidity, transparency and opacity, and used to both create isolated forms and as a means of joining, binding, or enmeshing discrete parts. I am also interested in materials and processes that introduce unpredictability and chance into the work, as well as those that allow material and structural transformations over time. Although I sometimes use indirect processes like mold making, I favor direct processes that require only the body and simple hand tools, allowing me to be fully and physically present in the fleeting moment of creation.