Much of the modern human experience is concerned with issues of connectivity, the ability to relate with the world at large, and the desire to identify with one another. These concerns of connecting are at the heart of my practice. I look at generic attempts at equate with the world: accounts of bonds made or lost, or failures of language to accurately communicate. Many of my conceptual sources are narrative, relying heavily on film and literature. Currently I look to the coded language of innuendo found in late Victorian novels, films of the Hays code, and even the queer hanky code.
Physicality of the art as an object becomes the way an audience enters the world or conversation I create. Using careful configurations of common material, that material becomes a pivotal focus; familiar objects and images develop new and loaded narratives within my constructed contexts. Locations I find myself returning to are shared domestic spaces (especially the bed), windows, clothing, books, and points of contact between bodies. I find value in these sites as venues and stand-ins for human interaction and alienation, and I support multiple, disparate, and simultaneous interpretations of these sites.