The sense of something gone missing – lost, absent or misplaced – is a recurring theme in my work. The void may be a physical void, indicated by a visual absence or hole, or it may be implied by a tenuous connection. The idea that our perceptions and experiences of the world are piecemeal – like a puzzle, that parts are incomplete, fractured, or missing – interests me. I investigate these losses in visual form. Compelled to visually “name” quantities in my work, I allow myself the momentary illusion that our world is made up of phenomena that can be quantified and known.
My work ranges from discrete handmade objects, digital photomontage, kinetic sculpture and installation to full-scale theatrical productions, social interventions and community engaged projects. It reflects my strong interest in language and linguistics, history, game theory, and social conditioning, and follows in traditions of Dada and Surrealism, American Pop and process-oriented work of the 1960s. Recently, the work has moved steadily towards relational aesthetics and art of social intervention. I make the work to address concepts of mobility, kinetic potential, boundaries, and change, and to pose questions about the dynamics of human interaction.
I frequently juxtapose incongruous forms, and present parallels and symmetries; oppositions and contradictions. I take things apart and piece together new configurations, often butting one thing up against something completely foreign to it. Accordingly I use both “old” and “new” materials and media, the industrial and the natural, found objects and constructed forms. There is often a figurative impulse in the work, either in the forms themselves, or in the suggestion of human presence.