STATEMENT OF WORK

My work emerges from a framework I call The Theory of Secretionism, which treats artistic production as a metabolic process rather than a representational one. In this model, ideas accumulate like biological matter, are processed through the body and material engagement, and re-emerge as residue in the form of sculpture, text, image, or sound.

Working across sculpture, painting, comics, and experimental music, I approach the studio as a site where thinking becomes physical. Materials—steel, gauze, muslin, wood, resin, and illustrated surfaces—behave less like neutral media and more like participants in a system of transformation. Structures often fuse armature and skin: narrative surfaces become structural elements, while sculptural frameworks operate like diagrams of thought.

Central to this work is thinking about the housefly, whose compound vision offers a metaphor for distributed perception. The fly perceives the world through fragmentation, multiplicity, and simultaneity. I treat this perceptual logic as a model for abstraction—one in which experience is processed through many partial viewpoints rather than a single coherent perspective.

My practice is also shaped by experiences with neurological injury and recovery, which altered my relationship to time, cognition, and sensory processing. As a result, I approach abstraction not as formal reduction but as a somatic strategy —a way of metabolizing perception and translating it into form. Artworks emerge as organs within a larger system: sculptures, drawings, texts, and sound compositions function together as parts of a nervous structure of thinking.

The works often incorporate diagrammatic elements, textual fragments, or comic imagery that act as epistemological scaffolds, revealing the thinking process embedded in the object. Rather than presenting finished conclusions, these forms record processes of accumulation, mutation, and transformation.

Ultimately, my work proposes that abstraction can operate as a form of material philosophy—one in which knowledge is not simply expressed through language but generated through the physical encounter between body, material, and imagination.