I make process oriented installations that exploit the ephemeral qualities of mundane products. I attempt to produce strength in the work while the elements foster weakness; the tension between these two influences creates movement. I am particularly interested in how each new environment affects the form, how the accumulated history affects the content, and how the procedure parallels the processes of human growth and decay.
I utilize a practice of reinstallation to manipulate the materials, and provide a history. Like people, the work picks up traces of its environment and carries them as we carry our history. Through my involvement and the influences of each location each installation grows larger, develops scars, and reflects the limitations of its surroundings. These factors provide the work with references that can be relatable.
For instance, the attempt to mend that which can not be repaired is a futile one, which reflects a common human priority. Like humans the installation also becomes tougher with each collapse, the places where breaking occurs are mended so as to become the strongest point, and push the decay to another section of the work. However, there will always be a weak point if enough pressure is applied just as with people. In many ways the patterns that govern the installations growth parallel my growth and development.
I feel the work I produce attempts to be a visual representation of the phenomenon’s of movement, growth, ephemerally, and futility; as well as other basic constructs that govern our existence. My work does not seek to argue a point, have and opinion on morality, or take a stance on truth. I create these installations to exist for the sake of existence, and through its presence provide pleasure, and draw attention to that which is always present. I wish to inspire people to relinquish some control and enjoy the movements of their lives.
