The residue of materials and the evidence of use embedded in how objects are constructed both intentionally and less so, represent my current position on the act of sculpture. Wether bought, machine or hand made, fabricated by a “professional” within a certain craft; this dialogue begins a conversation about positions, economies and ultimately culture. For me, it is the juxtaposition of materials, modes of fabrication and function that are what charge an object with potential; that isn’t fixed and always in relation to the maker, the user and viewer. It is especially charged when all of these positions are encapsulated in one person, making the object semi- autobiographical.

I am fascinated by the affects of time on a material. How the material changes through history by the human hand and necessity. I use raw materials, wood, paper and at times industrial material such as plastic and metals, all of which have specific cultural and socio-political histories. In addition to how the materials are constructed  or in some cases “found”, I am invested in how time, duration of confluences  and daily engagement help shape, define and determined a “finish”.  Therefore expanding the history of an object beyond the capitalist model, the exhibition space of the “showroom” or store platform.

It is an experiment in personal authorship and self-portraiture, mixing the intentional with the less so, pushing the autobiography, a subjectivity, the eccentric individual to the surface of the object, quite literally. I pull inspiration from my immediate environment and daily experiences. I am interested in expanding the vocabulary of materials and installation, to include principles of archeology, the poetics of space, the politics of space and the autonomy implicit in defining, creating and utilizing “personal” space. This is for me a political gesture. I am compelled by this these intersections as a rich space to work from.