My work embodies the impossible labor of navigating a culture that assigns value to objects at the expense of human life. I believe the objects we surround ourselves with are inadequate defense measures against a hostile environment that reduces social relations to relations between things. I seek to make that which drives this accumulation and attachments to things, physical and whole.

Each of my artworks is made from collected fragments of the built world including, rock, clay, domestic goods, string, personal belongings, etc. I use this abundance of materials to construct armatures, skins, and containers. The amalgamation of materials embody an erotics of accumulation spurred on by a need to capture and bind the surplus of waste generated by the production of redundant objects. I am interested in Georges Bataille’s ideas of excess as a lens to more deeply understand my emotional response to the world in which I am both a part of and construct. The erotics of accumulation, of waste, of excessive outpouring, fetishization, perhaps becomes idealized in an effort to cope.  I am interested in that which represents both a prison and a freedom, a sado-masochistic relationship which one enacts personally, but is part and parcel of society as a whole until death. As Bataille states “ life is always the product of the decomposition of life.” I am interested in the negation in which the fossils, byproducts, or decomposed matter are symbolic of both life and death simultaneously.

As far as my process, my work is labored over with redundancies and repetitive instances of the “here” and “now” that embrace excess, phobia, and anxiety as part of the human condition. The visual indexes of accumulating, pilling, building, cutting, puncturing, and destroying, points to a highly physiological and emotional labor. My works, all highly crafted and at varying degrees of fetishization, convey a futile effort to make sense of thought and feeling by making an object physical. Rather than objects being a source of inspiration, I am more inspired by my relationship to objects, as well as the life cycle of the objects and materials themselves. My accumulation of goods, whether it be for basic or psychological needs, is a testament to not one, but many life cycles. Not only do objects have an anthropological life cycle, from introduction to decline, but each man made object was created by another human being, used by populations, all the while embodying invisible social and economic traumas through it’s materiality.

My works are also created from molds of, or physical parts of, previous works. I imbed personal belongings into my sculptural work to embody the reciprocation, repetition, and reproduction of things as byproducts of our lives. In reference to Allan McCollum’s work, Yve- Alain Bois states “this edios, or form could also be thought of as a genus that  contains within itself - as a kind of repertory - the “footprint” for all actualizations of its form of life into species.” I think about this with my own work, as if my artworks are reproducing organisms, accumulating and creating waste.

The forms I create are reorderings, uncategorical and representative of a protest in which the body is implicated. I hope to substantiate the unruliness and resistance of bodies even under the most controlling of circumstances.