My work has always been physical, it was born out of an insular search for the limitations of my own body, but resulted in something far more comprehensive. Capitalizing on the conventional relationships between human consciousness and tactile objects, I have sought to evoke, within those relationships, simply what I perceive to be beautiful. Specifically, achieved through an exhaustive studio practice, beauty in my eyes has manifested itself as the performative potential of the body. It is this potential which is emblematic for me, not simply as a nuance of aesthetic preference, but as a universal experience; one that transcends denominations of sex or capability. Objects and environments that propose, to their viewers, a predisposed affinity with objective physicality through the reference of utility and sport.
All my material references; liquid plastics, composites, metallic particulates, allude to the coexistent self degradation and self sustenance of a physical entity through its own utility, but occupy the purely objective realm that exists between a designated material composition and its beholder. However, I find material relations completely evocative of the inherent potential for exertion, exhaustion, attraction, and detraction evident in an engaged body. It is this behavior, of sustenance through constant motion and redefinition of form, that has come to represent in the context of my art making, not only an honest approach to one’s own physical consciousness, but also a ubiquitous experience of predisposition to our surroundings.