The technological drive to build, construct, toil, or reveal is a sovereign form of sustenance. It is the closest process by which one can begin to assume the qualities of another state of matter or being. This drive is a transformation of the earth by other means, a form of ingestion wrought through the hand, to grind and grit for the most essential proclamation possible: I am.
The in-between. The rusted hinge. The gap in the sidewalk that swallows your shoe. The shedding of concrete from decaying plywood. The stutter between words. Faultlines. Crossroads. The sinew that connects these things, through uncanny geometry, at human scale and OSHA standard. The camouflage of no commitment, whose function is to publicly declare the camouflage sheathing everything else. The art object that plays well with others characterizes the dilemma of a proud impostor.
I create sculptural works that mime conventions of canonical sculpture, urban infrastructure, and museological display. These laboriously hand-constructed amalgams operate parallel to language and elude classification, perpetually oscillating between relationality and mis-identification. My work frequently incorporates the imagistic potential of sculpture, by acting on an innate bodily alignment with “fronts” and “backs.” Prop-like sculptures become sites for projection: as facsimiles of archetypal objects, impostors of icons, or signs that communicate the structure of their presentation. The resolute awkwardness of these structures inspires the psychic displacement necessary to comprehend the cultural displacement they can induce. My work accepts the premise that every equestrian monument is truly a Trojan horse, and questions the anthropocentric privilege inherent in notions of the “archival” or “ephemeral” to describe the life cycle of art works, in consideration of their place in the scale of vast geological time.