STATEMENT OF WORK

I use high and low-quality art historical, archaeological, and personal references to understand the desire to connect ourselves to the ultimately unreachable past and unknowable future. Peripheral influences like ancient graffiti, universal collapse theories, and common mourning practices all elicit the allure of half-knowing something while feeling intimately close to it. I am interested in the impulses, nervousness, and other guiding forces that cause us to seek relationships to history, and how they inform our present-day interactions.

Membranes that divide types of transition states appear frequently in the work, to speak about time, death, and the "ushers" that move freely between states. Sea birds act as one kind of usher or harbinger, due mainly to their Jurassic heritage. Layered textures and other devices of obstruction slow the act of viewing and induce cathartic sensations of digging, burying and magnifying. Material shifts, symbols and looping of imagery are used to create visual formats for describing time as organized within personal relationships. The work takes form in fiber, installation, and sculpture, which often involve drawing, painting, and sometimes audio.