ARTIST STATEMENT: I am a steward of objects. I explore the ways in which objects enter and exit our lives. How we care for them, how we think about them, how we occupy them, and how they occupy us are questions central to my interests. I explore form, fabric and furnishings as they relate to disintegration and detritus of domestic life.
My interest in objects is a product of my childhood. I spent most of my weekends wandering the aisles of a flea market. My parents supplemented their income by selling antiques and collectibles. We got up at 4:30 am to set up a table at the market before the sun rose. My parents made most of their money before 6 am. That was when the serious buyers were out. They walked from table to table on pebbled ground near a heavily wooded area equipped with flashlights to inspect laid out items. Small darting light beams accompanied by the sound of foot crunched grit and chirping tree frogs set the stage of intrigue for me. What was it about these objects that got people out of their beds at such ungodly hours?
The primary concern with the objects I engage with is the question, “what is this becoming”? Based on this inquiry, two core principles guided the way I worked with my materials. First, I directly handled all my materials, thereby leaving evidence of my touch. To touch something is to attend to it. It is a nonsexual eroticism that oscillates between release and restoration. In touching we experience corporeal empathy. In other words, subject and object become one. Second, I combine the materials to explore the object's potential state of transformation. I engaged the pieces responsively, making three-dimensional structures on the objects themselves. While working with each object I responded to their location, condition, function and/or an event indicative of the form (an event may be as simple as the moment a body sits on a chair).