I am a collector of objects, which interrupt visual routine and call for closer inspection. I survey my environments through the accumulation of these materials. Within my practice I differentiate between found and collected: circumstantial acquisitions or seeking out a specific object. I am initially drawn to the symbology, tactility, design and/or function of these items. My collected possessions are often dusty, eroded and earth-toned, but with a metallic sheen. They are often everyday objects that belong in specific architecture such as an office, a church, a school, or a home. These places have behavioral expectations and an understood code of conduct. By processing harvested parts into new combinations, I re-imagine the potential function of my materials. I remove the items from their predetermined contexts. Entrenched in the process of making, I dissect my collections and come to know how they work on an intimate level. Through my research-based practice; I analyze the historical, designed, symbolic and formal properties of my collections to inform my work. Hoarding and obsessive over-analysis are integral parts of my practice.
       
    Building on the language of feminist contemporary abstract sculptors like Isa Genzken and Rachel Harrison, I am interested in creating object-based installations and colliding surfaces and materials of seemingly opposite forces into singular abstract forms. The things I make are scaled to the human body, involve the hand and are often labor intensive in their construction. They are conglomerates composed of co-existing contraries; the rigid geometric mingling with inviting organic structures. Materials and forms that misbehave. They are composites of extremes thus they remain in between opposing definitions.

Like Genzken and Harrison, I have an inter-disciplinary practice that takes a variety of forms including sculpture, painting, installation and collage. My work has shifted from coding personal elements and focusing bodies of work around one material, to directly abstracting from my narrative as a source of inspiration. Evasively blurring the lines between personal and impersonal, I use materials and create installations that are emotionally charged and austerely removed.

I find connections between present life, imagined future and the residue of past experiences.

Bibliography section article Bibliography Section Catalog Bibliography Section Web Link PDF icon small Sold Dot