The highly consumptive and networked lifestyles of millions of Americans, climate change management, and the exponential progression of hierarchical environments provide a sense of control that seems to be elusory and superficial. I draw on the characteristics of strength, transparency, vulnerability, and symbolism of objects to help me satirize my reflections of contemporary life.
As my mind deals with the proliferation of information surrounding us, in my studio practice, I systematically strip away, reduce and carefully arrange elements of seemingly obsolete armatures, vintage technologies, ready-mades and electrical components to create unexpected and often semi-hazardous objects. I title these botanical-like sculptures “low-tech organics”. Suitably so, my installation works have been described as “feeling alive”.
For inspiration, I draw from juxtaposed time-lines of pop-culture and of art history. With childlike wonderment, the handcrafted props, scale models and the digital visual effects of 1980’s and 1990’s science fiction movies continuously inspire me. Equally intriguing are the auto-destructive machine sculptures of Jean Tinguely and the gracefully precise and kinetic works of Alexander Calder.
Ultimately, my works blend social critique and the transparency of the art making process with aspects of drawing, sculpture, and immersive installation. They are driven by formal investigations of light, tension, contradictions, drawing in space and atmospheric qualities of unlikely materials. To date, my body of work resonates with yesteryear-futuristic dreams and subtly suggests to the viewer the importance of logging off and tuning in.