To describe my practice is to describe the things that surround it. Not to evade, rather, avoid a possessive overdetermined understanding of meaning. It’s s an attempt to intervene without interfering. It’s an attempt to trust. What becomes material will be determined by what’s true. What’s true will be revealed by what’s present. Sculpture, installation, and performance are all ideologies that have specific spatial and physical concerns; therefore, they’re ideal conditions for me to work within. Fragments of eroded concrete, tree branches, light bulbs, moths and other objects have become supportive in revealing what is present, what is true. At times even re-presenting what I thought was already present, what I thought was already true. Before a found object becomes a tool for sculpture, it is an encounter with weight, shape, temperature, texture and time. My use of performance offers alternative ways to wander, improvise and place the impermanence of these ongoing encounters. In the spirit of this endless meaningfulness, I look to and listen for the presence of performance and the materiality of objects. My rearranging and repositioning, sonically and otherwise, is a practice in-practice. It’s more intuition and revelation, less invention and revolution.

Using Format