Working primarily as a sculptor, I have found myself attracted to using materials and objects that contain a kind of history, a certain amount of disintegration. Often this allows me to build and elaborate on a narrative that is already contained within the material. Whether it’s lathe from old houses, worn floorboards, distressed and altered found objects, or objects that I have created, this immediate interaction between object and human interests me. Our underlying role, as individuals, in the history and disintegration of these objects is very important to me as well. The way we move about in a space wearing down the floors, the way oil from our hand patinas a door handle, the painting of a wall; we are constantly adding to and transforming this history. These accounts are present in the re-appropriation and creation of objects as well, and I am continuously finding ways to suggest a kind of pre-existing narrative within objects that I make.
My sculptures reference recognizable architectural elements. The familiarity of the materials and forms provides for the integration and projection of personal memory. The forms are removed from their original setting and function and are re-contextualized by the shifting of scale or the absence of environment. The human scale of these sculptures inspires investigation and contemplation of boundaries between interior and exterior, presence and absence. Place is a powerful trigger for sense memory, and by working with specific structures that hold significance within my own life, I can both exploit and subvert an individual’s occurrence with place.