My practice is primarily in sculpture, but I also work in the realms of drawing, music, video, and various types of design. I am interested in ideas related to spatial politics, landscape architecture and history. I often explore materials found in the built environment and is interested in their embedded symbolism related to power, nature, and human intervention.
Concepts are born by leaning onto gratuitous saturated elements, color, and materials by way of pure intuitive interaction and play. My practice relies on the immediacy of material and environment acting upon each other,. with elements of viewer interaction and participation. From black lights to gum balls, fruit and gold leaf, the language I speak is driven by fantasy and uninhibited strategic play.
My work combines elements of conceptual practice with experimentation in print-making techniques. Exploring different genres and styles, I seek simple and efficient shapes, clear outlines, and relatable images that have the ability to portray potentially complex situations and contexts. Some of the themes I am concerned with are sexual identity, authenticity of expression, and visibility of emotion.
My work is about death, risk, spirituality, vision and solitude in the American West. My most significant influences are monster truck shows, landscapes and skyscapes of the Southwest, spiritual practices of the Desert Mothers and Fathers, westerns, heavy metal, and ballistic explosives. I enjoy treading the visual line between austerity and insanity. Sparse drawings, miniatures, plein air studies, ephemeral sculptures, large paintings, audio/visual documentation and site-specific installation all have a place in my practice.
Through lens-based media, sculpture and events, my work investigates how perceptions of landscapes relate to public policies and personal viewpoints. My practice is rooted in site-specific work that reflects topical and historical research to create installations that reference the unique character of their setting..
I create poetry out of common things, repositioning common materials to make new meanings. I use firewood, fruit, commercial signage, basic construction techniques, or a whistled song. I also use shards of common language – literal texts like slogans, maxims, exhortations and symbolic language such as flags or football “fight” songs. I’m fascinated by the way we look at our surroundings through invisible cultural and historical lenses, and my work attempts to subvert inert objects and signs by remixing them.