Fascination with hand-made objects, their creation, and manufacture has always maintained a strong grip on my sensibilities. I am intrigued by human made objects and the power they hold. For example, I gravitate toward Egyptian relics and the mystification instilled during their birth. That mystification is fueled by their use, whether as adornment for religious idols or utilitarian functionality in the case of a knife or mortar and pestle. As a child, manipulating materials and creating my own objects became an important form of communication and an informative outlet for me to understand the world. In elementary school I sculpted and painted masses of small Sculpey animals as a way to affirm my own existence and place in the moment. As a child in Kentucky, I could often be found digging holes in my backyard searching for artifacts, such as small glass perfume bottles and Cherokee arrowheads. My childhood archeology gave me history over where I stood and I felt rewarded by contact with all preceding inhabitants. My perspective on life drastically changed when at age eleven I moved to Northern California. Suddenly time, distance, and spatiality became profoundly relevant to my exploration of seemingly hidden forces emitted from objects I was in contact with on a daily basis.

Currently, my work mirrors my own confusion with the unraveling situations of living. I am interested in juxtaposing familiar objects with themselves, a fabricated doubling in order to highlight their actuality as presences in space. Their object-hood is intertwined with the layers of their given function. Therefore the purpose of my installments is to create mutual contrast between opposing forces. Between what the viewer recognizes as mine and an obscurity of origin. Through constructed "situations" I hope to create uncertainty in the viewer where the uncovering of knowledge is always shifting, demanding perceptual reevaluation, the reformulation of opinions, and discovering new paths of thought. The focal point of understanding and familiarity can be inverted at these times of reevaluation. I flip the comfort of the handmade, with/through the distance of the manufactured, blurring what is new and "what is new as of now", switching recognizable imagery with the difficulty of an ambiguous form. The placement of and spacing between objects in my installations is critical to achieving the mood of the work. I am fascinated by the locations of and distance between materials and what is namable in everyday life. Whether something has been intentionally placed or placement has occurred through happenstance, there is a structure that can be seen in the understanding of the forces at hand. Traffic triangles composed of detritus on the street are the result of the guided paths of automobiles, a trace of the radius of the turn executed by the vehicle. Islands start to form where dirt builds up at a junction of rest, the passive result of aggressive motion.

In the removal of layers, which un-analyzed exist as chemical moods, ritualistic objects are uncovered as represented in the sculpture. General issues of Music, Self Reliance, and Lonesomeness create solidarity in the work. Stability walks a fine line. Honest thoughts have many facets that demand time, research and exploration. I work to expand on the language surrounding my work to articulate and realize my thoughts more substantially, through sculpture and writing alike, and to reach more complex and precise concepts.