The work begins with sifting through forgotten ephemera that had served a specific purpose. I use discarded magazines, pages torn from books, orphaned photos, splintered wood, or tools whose usefulness has been worn down by time. I'm drawn to what carries a visible history, to things that have already once had a life and might be convinced to live again. Because I work across image and sound, the medium is varied and often overlapping. I treat each fragment like a musical note, the techniques are interchangeable instruments, and the final work becomes the score.
My common theme is about dismantling personal and cultural hierarchical systems through the use of mythology and metamodernist oscillations between sincerity and skepticism. Mythological archetypes allow me to question and critique issues about politics, identity, power, belief, and belonging without pretending I am the first to do so. Fluctuating between an ideological modernist view and the cynicism of postmodernism, this interdisciplinary approach enables me to deconstruct the past and consider what has been experienced. I then build narratives into a new aesthetic by assembling disparate objects and images. The resulting works feel like fragments of a longer myth and each piece serves as both artifact and provocation, challenging viewers to reconsider what is overlooked.
I am influenced by Surrealist dreamscapes, Dada assemblages, Fluxus performance art, lowbrow painting, and the glitchy errors occurring in digital and analog art making. I borrow elements from these movements to create a unique artistic language. I am drawn to stories of transformation and the moment in which a person surrenders their previous self and embraces a new form or system. There is value in examining change and I find wisdom by observing the aesthetic of failure and the success of metamorphosis.
