STATEMENT OF WORK

Scavenging the detrital materials from American industry and the built environment, my process is one of deconstruction and re-comprisal. Defective stock: factory remnants of glass and wood; discarded materials and objects are negotiated as a field of latent material characteristics. Presented under the purview of this reconsideration, my work engenders a re-apprehension of the constructed-ness of sight.

My practice investigates material as a mediator of and mediated by visuality. I chart relational connections between materials and their interactions through craft practices and assemblage. This maps an aesthetic logic of material transformation onto the dialectic between viewership and visuality. My work presents assemblies of forces and characteristics and an assessment of their relationship to one another.

A section of a fence intertwined with a branch is clipped out: the work is the interaction, arrested and lifted from a phenomenon in the world to an assessment of inter-relation. A length of offcut oak is sliced into thin strips, sequentially composed as an image. Both are instances of material navigating ‘through’ the constructed-ness of viewership. In that sense, my wall works are sculptures of images. Two round bits of pressed and flattened plastic reflect each other in a shared collapse of their material agency to a foreshortened visuality. A bottle cap and an arcade token are both stamped with the relation between seeing, knowing, visual representation, and power: visuality.

I ask: How does a subjective perspective on material animate our engagement with it? What does that activity look like when material is premised as a mediator of reality, rather than the ‘stuff of it’?