ARTIST STATEMENT: My work proposes a world returned to nomadic roots following a peripatetic population constantly on the move. It expects that in the near future, much more of the world's population will be forced to be nomadic. I focus on the creation of wearable environments, and autonomous living/traveling systems, based in engineering and science and fused with fantasy. A recurring image of bicycles piled precariously high with scavenged cardboard boxes and bound with bungee cords, these mobile shelters represent a Sisyphean struggle with the remnants of modern society from another ambiguous time. Much of my work has concentrated on exploring conditions of migration and nomadic populations, including environmental and political refugees.
A parallel series of images operating in a documentary mode, the photographs from “The Anatomy of Melancholy” include abandoned missile silos, a biosphere, Ted Kaczynski's cabin claimed by the F.B.I., and half-submerged derelict boats are research documents used to describe a future that operates somewhere between obsolescence and post-tech ingenuity.
Over the past few years I have been working on bringing a project called the Waterpod project to fruition. The Waterpod was a floating sculptural architecture designed as a habitat to comment of sea-level rise, lack of housing, and increased destruction to useable land. It was an experimental platform for assessing the design and efficacy of autonomous living systems. The Waterpod was a public art project that traveled to the five boroughs of New York City, and five artists lived on the Waterpod for the duration of the initiative.