The central interest of my work is to cause people to think. Without the participation of the viewer's imagination and desire to interpret, the work lacks any reason to exist. The works I create are a visual combination of both questions and answers that rely on this communion of thought between the undefined and what we think we know. Through a combination of various materials, processes, and configurations, I hope to instill in the viewer a sense of discovery through an act of personal investigation. I have my own conclusions or supposition regarding the meaning and interpretation of each piece, but they are equal to the individual’s viewpoint. 

The subject of my work is broad and is based on what I find to be peculiar between the outer edges of the very big and the very small, choosing to focus my attention on the aspects of the universe in relationship to us. At the core of the work is the fundamental need of people, to communicate. Through this seemingly simple action we are able to gain a perspective beyond the constraints of our senses. This idea became apparent in the installation, Subject of Experience, as I sought to understand the limits of the senses in relationship to perception and experience. In this piece the body of the viewer is defined within the space by gold leaf foil that responds to the moment of a body in the space. This acknowledgment is later negated as the viewer looks into a chamber of mirrors where only sight defines the space and the objects within it. During the showing of the work, this limitation lessened as individuals began to describe to one another what they were seeing, causing the work to change form within the mind. 

My choices of materials, both raw and organized, are important to the interpretation of the work through the preconceived ideas associated with them and their physical properties. In the piece, Trace Elements, I used dry flour because of its personal associations and material history. The flour is installed on site and arranged into thousands of small piles, which physically allude to the idea of impermanence and the visual sensation of permanence at the same time like a Tibetan sand mandala. This same idea is restated in earlier works through the use of living organic material. With these works the permanent visual aspect appears to be the printed text and images or an entire book, but is later replaced by the living material contained within the piece. These cycles are embedded in our collective philosophies as we try to place ourselves within a system.