My choice of materials and visual language stem from an interest in the tactile; I want to touch everything during my everyday life and the same is true when I enter a gallery or museum. My extensive collection of fabrics, industrial supplies and haberdashery is as great a catalyst as what I see on the street or in a museum. Additionally, I am interested in an element of discomfort existing within the work, whether through an exploration between minimal and over the top, invasive and contained, or through the size of a work as it relates to the human body.
I spend a lot of my studio time in play and experimentation, sometimes sketching on paper, but mostly experimenting more sculpturally. These quick three-dimensional works help energize me and create a relationship to each chosen material and composition. Some of these works are complete in their simplicity and brisk energy. Others help inform larger works, although it is important for each sculpture to have a life of its own. Being present to the process of making is one of the most important parts of my practice.