"My furniture refused to stay furniture. It spoke in ironic quips. It asked questions. It made statements.
My work has always dealt with transformation. From the inside out, how to get there from here. Content driven, a bit personal, and steeped in the impossible. From snakes swallowing teapots to kinetic birds acting as guides, stacking chests to store your hopes to a kinetic boat drifting on a waterless sea. It speaks to how we must always change, evolve, fall, hope, hurt, love, recover, remember and forget. It is our evolutionary heritage to look for balance in the imbalance and uncertainty.
Currently my work fits in a more transient space, one in between imagined and reality. I crave the uncertainty of improbable imagery. The newest work combines carved animal forms, vernacular architecture, and furniture objects. I am working with shifts in scale, impossible places that are believable, and how, through these changes we look at our built and natural worlds. The juxtapositions are a way to find the space between objects, life, and the built environment. Architectural and furniture references invite viewers to imagine themselves within these spaces. Small chairs, stools, windows, and tables are placeholders. You know what to do with them, imagine yourself inside and the work becomes monumental or you become miniature. How does that feel? Stacking and piling small furniture is controlled chaos. The piles become things, like an elephant, domestic objects gone feral.
I employ and overlap of multiple construction techniques gesturing toward presence through absence and absence through presence. Multiple scale shifts invite the elastic mind to digest the impossible. The whole is believable, while the parts are disparate. There is an intersection, a place where for a second it all makes sense and then falls away.
It is a practice of expanding and blending, where is the crossover? What is the crossover? I am interested in un-domesticating the landscape to create a new space. Why does this whale have a roof rack? We fill in the blanks."