Statement

“for everything whose purpose / is to conceal seems to change, / in the end, into a sign / of what it’s concealing.” – Aaron Kunin.

Highly inspired by the world we live in (the social, political, and religious), I use objects and systems slightly abstracted and altered to present commentaries, questions and at times manifestos. I hope for my audience to either engage, answer, or believe these to be true. I have accepted that I see the world quite differently from others, and what I present in my work is what I believe the world to be.

The conceptual and somatic properties of the shell, using animals as a parallel to humans, formed the basis for an early series of my sculptural pieces. Expanding the idea of the shell beyond its physical nature, I related the poetics of shells to the concerns of humans. I suggest in this work how we have out our own emotional, social, and even physical shells.

These dualities of the internal and external slowly carried their way into my current body of work that consults the potential of something more within the void. I use symbols like the barricade and bunker as a way to baffle the viewer and suggest a space or system beyond the proposed object. Much like how a sewer grate can present the idea of the extension of a space beyond the surface it rests. The idea of the void also bridges a conversation on the post-human and the mask. I define these words and their connection through creating my current body work.

I am interested in using post-human techniques of technical collaboration. I am an artist that incorporates industrial design fabrication techniques using digital cad sketches for CNC routers, and other computer-to-machine processes. Since working at Zahner Architectural Metals (who fabricate for the likes of Frank Ghery and Herzog and DeMuron), I have had intimate contact with these digital design and CNC fabrication processes. As for their post-human facets I allow for these machines to help me write poetry, and design work apart from just using them to fabricate sculptures.

Along side my static work I use performative, kinetic and sound processes to give an event versus an object.  I believe some statements do not carry the same weight as objects and must be experienced rather than just looked at.