epilogue Every word is like an unnecessary stain on silence and nothingness - Samuel Beckett
Generally, my work begins to dismember the puzzling bond that transpires when people connect/communicate/interact with each other and their surroundings. Themes that carry through my work concern every-day issues, such as language, landscape, home, song, desire, loss, erasure, mapping and the grey areas where ritual meets routine. The ideas I work with grab onto historical context, alter and map it, then re-present it as a way to shift previous understanding into flux and to foster contemplation.
When I make things I use a combination of code-creation in tandem with fluid (or even messy and dangerous) notions of chance. For example, burning holes in wool to form a night sky pattern or bleach to draw music notes. I use seemingly mismatched pairings of genre as a way to address comfort zones and conceptually translate the fragility of absolutes. This nestles the work in a hybrid space between craft and conceptual, formal and informal. Materials vary from fabric to charcoal powder, from grommets to poems, and are chosen for their embedded meanings and act as interpreters - the language of which varies for each reader.
The object, writing, project or installation is the "first impression". From there, others are invited to get to know the work better over time - not much different than a relationship, really. Generosity of interpretation is laid bare for the viewer when I leave the work and then new conversations can begin. prologue
recent work: mash-ups: repeated iterations expose gaps and disconnections between the intangible qualities of time. transcription-sculpture: to map and contain the tangibility of music; transliteration:secret messages about the desire to spend time together while caught in the romantic throws of denial and down-right impossibility. arte povera: abandon of reason; harbor impermanence in inexpensive and discarded or reused materials. balance: one small wall attachment - the rest is gravity.