Artist’s Statement

In general, my work begins as a commentary about human ecology, often highlighting notions of intimacy, religion, and psychology. My process then typically incorporates altered found and appropriated objects to invent unlikely but provoking sculptural homages to the mundane (the antithesis of our ‘Digital Age’). These composite expressions of the contemporary daily grind are often very sarcastic, playful, and anti- heroic.

This piece “Untitled, On Purpose” and several others leading up to it, utilize a very simple 1:1 ratio. Compositionally, this references topics such as Love:Hate, Husband:Wife, Dead:Alive, Right:Wrong, Hot:Cold and so on. Essentially, this binary method is an attempt to analyze the complex underlying signs, symbols, and structures that construct meaning and culture within our lives. Moreover, as seen here and in most of my work, it is heavily grounded in Structuralist Theory and Existential Philosophy.

In essence, my work is intentionally futile, a passive aggressive narrative about the unavoidable accumulation of memory and one’s subsequent culmination of identity by default. The swift gesture of the Jackhammer is an extremely revealing act that discusses just as much about itself as it does about the object that it interacts with. I look at this relationship as a very slow cyclical narrative, which somehow decodes an understated evolution of the objects and or the things they represent. Whereby, one begins to understand each objects existence and or identity only through its relationship with another. My intention is that a viewer will walk away feeling offended or chuckle about what appears to be a sarcastic joke, but soon after realizes the greater innuendo within the work.