STATEMENT OF WORK

I’m interested in how we experience reality as a construct, a seemingly coherent world we piece together from sensory information and images we see internally—memories, fantasies, dreams, associations. Because these constructs are fluid and disjointed, embodying them in visual modes of representation is bound to fail on some level, but I’m interested in that failure, in using incongruous combinations of media to describe the gaps and idiosyncrasies of experience.

In my studio practice, I have worked though these themes in a wide range of media. In my earlier video projects, I handcrafted each on-screen element: masks and costumes for actors, life-size sets, miniatures, theatrical lighting, and in-camera special effects. More recently, I have incorporated digital media: 3D modeling, 3D scanning, animation, motion capture, and VR, mixing and remixing the resulting analog and digital components to create prints, sculptures, paintings, drawings, videos and installations that tease out human experience through contrast with an inhuman one.

Because my work is primarily experiential, I want to immerse viewers in it, and use a variety of languages to explore how we slip between physical spaces and internal ones. In several recent pieces, I mapped motion capture footage onto 3D-modeled objects and 3D-scanned sculptures. In mixing digital and analog media, I wanted to create an unsettling tension between the naturalness of body language and the artifice of representation, a tension that mimics human perception: “reality” filtered through interpretation.

My most recent body of work is a group of clay and mixed media wall relief sculptures. Each of these pieces functions as a kind of compilation of platonic forms, an image of language taking shape. The work recalls many of my digital images in a more immediate, visceral, and tactile medium.