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I want to engage the viewer in the place where the collective meets the individuals’ consciousness. |
You
have to keep enough of the organism for it to reform each dawn; and you
have to keep small supplies of significance and subjectification, if
only to turn them against their own system when the circumstances
demand it, when things, persons, even situations, force you to; and you
have to keep small rations of subjectivity in sufficient quantity to
enable you to respond to the dominant reality.
Gilles Deleuze, A Thousand Plateaus p. 160
I
want to engage the viewer in the place where the collective meets the
individuals’ consciousness. My constructed environments use fantasy as
a means to explore how we process information in our attempt to examine
the physical and psychological facets of reality. Being object, place,
and space– my work draws from several different concepts or bodies of
knowledge including, architecture, structuralism, number theory,
clustering, consumerism, the ephemeral, networking, politics,
geography, metaphysics, and many others. I select materials as a
consumer, choosing items that are highly suggestive of the terrain that
is being explored or with a specific manipulation or use in mind. Here,
the method of development relates directly to my process as a
fabricator, manipulating stock materials to form objects with
particular identifiable characteristics. My choice of materials has
become increasingly ephemeral in nature, emphasizing the impermanence
of each experience and in most cases the lifespan of the installations.
The collection, repetition and orchestration of objects or their
multiples act as fractals within the works. As the installations are
encountered the collected materials, references, and processes undergo
dramatic transformations becoming what I refer to as “simulated and/or
hyper-real environments”. The materials and building methods are in
many ways sterile, non-gendered and heterogeneous while the mark is
physical, moody and lush. Layers of interconnected information
construct their anatomy- merging the overtly familiar, with other less
obvious aspects of our surroundings, borrowing explicitly from the
architectural, the biological, and the landscape. Light, transference
and shadow echo illusion- playing heroic notions of the art object
against their anti-heroic fallibility creating internal power struggles
within the pieces through their negotiations of structure, space and
materials.These
works relate directly to ideas of personal identity, intimacy, self
knowledge, and the relationship between the public and private
experience. I strive to create works that bring attention to how we
experience our surroundings by juxtaposing what is actually present and
the associations we bring with us. Such associations spark a
response from the viewer that involves an examination of ones self in
connection our ever changing landscape and surroundings. Similarities
between basic concepts of beauty, fear, desire, that the systems evoke
create the experience of “tapping into” collective consciousness
emphasizing our connections to one another. The private aspects
emphasis lies in the separateness between our identity and that of “the
other”, exposing the individual or withholding their secrets. Both
areas, whether playful or stark, lead to the perceptual correlations
linking psychological and physical identities and realities.
