My work begins with the body as a way of observing, measuring, remembering, and making sense of the world. I am interested in the distance between an experience and the forms we create to describe it: a drawing, an object, a gesture, a recording, a system of measurement. Rather than treating these forms as neutral representations, I use them as places where information shifts, accumulates, and sometimes fails.
I work across sculpture, ceramics, installation, drawing, video, sound, and performance. Materials and processes often determine the direction of a piece. Repetition, tracing, collecting, casting, recording, and measuring allow me to translate bodily actions or perceptual experiences into physical structures. Scale frequently comes from the body itself: the span of an arm, the movement of a hand, a posture, a rhythm, or the time required to perform an action. Error and imprecision remain visible because they are part of the way these translations take place.
Memory also enters the work through objects, images, technologies, and gestures that carry personal or cultural associations. Some projects begin with specific memories or experiences; others develop through observation and experimentation. I am less interested in reconstructing an event exactly than in understanding what remains of it and how it changes when it is given another material form.
More recently, I have been working with devices such as radios, tape recorders, CRT monitors, player pianos, speakers, and acoustic mechanisms. I am interested in them not only as technologies, but as systems that organize attention and convert one kind of information into another: movement into sound, marks into music, signals into noise, or recorded time into repetition. These devices extend questions that have been present throughout my practice about how the body encounters the world, how experience is translated, and what is altered in the process.
September, 2026