I think of my sculptures as appliances, fixtures, and tools. I’m influenced by things that make up the modern home. My work changes the nature of the things they touch, the way a thermostat determines the temperature of the room. The scale of my work is an intimate one, so the hand that operates a coffee maker is the same hand behind the making. Some pieces confront the viewer and some keep a distance, suggesting surveillance or monitoring; the way they share space with the viewer is more important than demanding the viewer’s attention. All the sculptures are concerned with the architecture they are located in, I encourage relationships with existing fixtures in the space.
I’m drawn to the sparseness and simplicity of Minimalist work. Minimalist forms represent a false purity or ideal state that can never be, a point to strive for, like a memory. In my work, I’m interested in the real and true. Rather than reject association, I embrace it by translating specific, common experiences into something more general. My work has points of differentiation, imperfections that run counter to how Minimalistwork operates. I take a collective experience and filter it through a geometric language, turning a bee sting into a yellow rectangle. A moment of impact is solidified and made modular, with potential to shift.