Artist Statement:
My work comes from the politics of noticing, a place of paying close attention: to materials, to the world around me, to the things that often slip by unnoticed. I move across different mediums because I’m interested in what lives between things, the spaces both physical and conceptual where one state shifts into another.
My work comes from the politics of noticing, a place of paying close attention: to materials, to the world around me, to the things that often slip by unnoticed. I move across different mediums because I’m interested in what lives between things, the spaces both physical and conceptual where one state shifts into another.
I think a lot about gaps and disconnections. The things we usually overlook. I’m drawn to visible signs of decay and disrepair, the way industrial structures overlap with domestic spaces, and the tension between digital tools and the handmade.
These in-between spaces are where realities cross and layer on top of one another, hovering right at the edge of a change, just before something happens. I’m interested in the friction that happens there: a material that doesn’t hold, a visual disruption, or that suspended moment just before or after a physical shift. In that friction, a pause opens up.
I explore this tension across both flat and immersive spaces. In my two-dimensional work, I use precise tools across photography, digital media, and hyper-realistic drawing to carefully layer conflicting realities. I collage these elements together to isolate and hold still a particular visual disruption.
In my three-dimensional work, I bring that same friction into physical space. I combine precision digital tools like CAD and rapid prototyping with the unpredictable, hands-on qualities of found materials, wood, metal, and ceramics. Rather than making static objects, I build environments that invite the viewer to walk through, to physically enter, and to step directly into those spaces in-between.
