STATEMENT OF WORK

I work across moving image, installation, sculpture, and painting to explore the sublime, not as a romantic landscape, but a force where beauty and fear coexist, revealing the limits of human control. Through salvaged automotive materials, projected video, and painting, I reframe the landscape genre as a site where power, vulnerability, and perception collide. My use of urbane and industrial debris dismantles symbols of American progress, masculinity, and acceleration, repositioning them within a feminist understanding of the sublime: a terrain shaped not by domination or mastery, but by uncertainty, fluidity, and embodied experience.

In my new media installations, fractured chrome, glass, and steel surfaces capture and refract projected video into illusions of sunlight, breezes, water, and atmosphere. These interventions refuse singular perspective, creating optical environments that stretch time into loops—moments suspended between anticipation and impact, beauty and danger. The work evokes the tranquility before an accident, a temporal threshold central to the sublime’s historic definition: a state of awe laced with the threat of rupture. Through my work with landscape and industry, I propose a utopian potential in undoing the infrastructures that police perception.

Painting extends this inquiry into how images construct power, belief, and desire. In a post-truth, algorithmic image culture where AI fills in every gap and feeds spin between trauma and pleasure, painting’s ambiguity becomes an act of resistance. I cut, stitch, and reassemble photographs—cropped, blurry, and unreliable—into compositions that hover between abstraction and landscape, refusing the clarity we are trained to crave. Transparent passages open onto uncertain space; sunsets merge with car wrecks, revealing how easily beauty and catastrophe collapse into each other and how our eye accepts both with equal appetite.

Across media, my work uses the language of landscape to reorient the viewer toward a sublime grounded in instability—one that resists mastery, invites speculation, and reinterprets perception itself. By transforming industrial scraps and fractured images into sites of reflection, I encourage viewers to linger in the murky, in-between spaces where meaning is not fixed but continually unfolding. The trouble in the window, like the glint on a salvaged mirror, is an invitation: to look beyond the given frame, to confront the forces that shape us, and to find possibility in the uncertainty that remains.