There is a powerful capacity to communicate through process. By accepting this symbolic form of communication, I remain open to possibility and flexible to the unforeseen. It is within this realm of giving up control, letting go, embracing spontaneity – that my work is nurtured. Sparked by my intrigue into the properties of materials and the preciousness of action, I am attempting to abandon traditional methods, seeking new ways to engage process and object.
I challenge the perceived boundaries of material and the presumed nature of things. I rely on metaphor and gesture to express my interest into the systems and structures we use for understanding the world around us - bringing context to the unknown and pattern to the chaotic. Often, through the accumulation of the smaller individual parts driven by repetition of action, my work embraces materiality. It is a means to investigate the innate entropic relationship between parts to a whole, focusing on the subtleties of causality and the individual histories ingrained within each element. I am interested not only in the singular action, but the collective gesture, achieved through tedium, while exploiting the aesthetic qualities of the material within a larger contemporary setting.
Most recently, this has lead me to consider the relationship between the known and unknown – chaos and pattern, by allowing forces and materials to interact with one another naturally. The result dangerously peregrinates between the act of creation and potential for destruction. Existing in this liminal state allows for the unforeseen, the unknown, and the unpredictable to present itself in ways that confound. I am driven by questioning my own preconceptions of what is possible or impossible, however, the approach often leads to the broken, to the impermanence, and to the ephemeral. Maybe it is in this effort to try, that meaning is derived - the conscious effort, while simultaneously accepting that there is meaning within the spontaneous, the natural, and allowing things to be.
