The poetry and politics of plastic engage me in my formal investigation. An experimental, economy-of-means approach to materials is essential to my process. By heating and fusing plastic, I create sculptural and textile forms, using both semiotic and material characteristics of plastic. Plastic is commercial, pedestrian, toxic, continually degrading without disappearing. It equalizes even as it destroys—as parasitic as it is beautiful.
The moment of exhibition is central to my work, as my practice is largely site-responsive. I make discrete objects that form fragments of an implied whole. The configuration of these objects and gestures change with each installation. The installations approximate one another; there is no ‘original.’ They demand moving through space, seeing multiple frames, correlating moments, and relationships between bodies in the room. Color pulls vision across space. Yellow slams into the wall, falls to the floor, bursts above the door. Green undulates over pink, clashes with red, and sweeps across the room, peeking out from under black.
Using space as a material, I seek to mimic the dynamic effects of landscape. Weight, tension, energy, movement, expansiveness, and aspects of travel invoke moments of discovery. A plastic gesture painted on the wall, rope running along the horizon where wall meets floor, are attempts to engage another type of form.
Contingency, provisionality, and impoverished materials are aspects of my work that seek the engagement of an audience and the challenge of new spaces.