I create installations from ordinary materials such as clamps, extension cords, lamps, locks, bungee cords, batteries, plywood and lumber. I appropriate theses objects and treat them as purely “art” material in order to strip them of their cultural and contextual meaning. This re-contextualization allows me to explore these materials simply as objects in space. I emphasize and explore the aesthetics of these materials as a means to provide an entry point for the observer. These works are modular and designed to adjust to the possibilities of different sites. My assemblages explore the definitions between sculpture and installation because it must factor the given site into its implementation. For example, the effect on an installation’s arrangement can come from the differing architectural placement of electrical outlets (if any) from various sites, yet the work retains it sculptural identity from location to location.
These drawings should not be read as schematics of proposed future sculptures, instead they should be understood as a dialogue between my drawing and sculptural processes. Drawing allows me to explore my sculpture practice in an idealized form. Where my installations exist in real-space and must take into account the architecture in which it is placed, my drawings can exist in a void, where space and physics do not apply, allowing these forms to develop into any shape. Simultaneously, by employing a fastidious, highly detailed drawing style, I wish to emphasize an intentional placement and use of objects.