I am particularly interested in how positive and negative spaces can be used to question or become modes of governing by directing the eye and the mind of the individual. With regard to form: emphasis, absence, and the spaces in-between become authoritative signifiers for an experience. In turn, these elements draw parallels to narrative, memory, and time. A wall grid of draws refers to mortality, familial relations, and secrets. A process of deconstruction alludes to the passing of time, and deflation reflects loss or letting go. An image printed on thermal receipt paper becomes an abstraction of the experience, yet still exists as proof.
Tending towards subtlety, my work leans heavily on materiality, process, and visual associations to illicit an intimate correspondence that it both suggested and universal. I rely on abstracted, obscure, and sometimes numerical data in my technical construction to develop my own personal narratives while still allowing for broader consumption. I frequently utilize a craft vernacular in conjunction with lo-fi technology to compose work that engages culture and tradition with cognitive processes such as memory, emotion, or the experience of time.
The majority of my work involves actively seeking out or editing objects and textiles, often those which have been discarded. I gravitate towards these media because they have an inherent history that is attached to where they came from, who used them, and how they were used. They are linked to the process of becoming: from what they were to what they will be. These materials are underscored with humanness. As such, an object, material, or installation can become an intermediary for people and their experiences.