My work takes language as a starting point and then trips on something, which is to say that the interest is not in the capacity to communicate, but in the probability of saying the wrong thing (incorrectly). Metaphor predominates the practice, an inclination that relies as much on linguistic structuralism as it does on the inadvertently unstable system of signs. I am interested in the slippage between denotative and connotative understanding, and sometimes on banana peels. Historicity and the definitively anti-historical provide space to articulate not only a mutable systemization of innate meaning, but also a temporal remoteness.
I am concerned with the diametrically opposed yet, uh, inextricable notions of intimacy and distance, and whatever tentative movements may transpire between the two poles. The work longs, pines, and yearns and, perhaps, disavows a connection to reality by maintaining an insistence on artificial participation within a larger social fabric. The emphasis is on projected romantic aspirations, and the way in which unrequited desire is mediated through protracted production. I prioritize the making over the object; historical and traditional methods of painting and fiber processes become, through time-intensiveness and labor, emotive gestures.