In his description of Gordon Matta Clark, author James Attlee says that the artist “…was always looking for wormholes, escape hatches, exits through which he could tumble to another level”. With a similar spirit of exploration, I carefully scan my physical surroundings for interruptions, anomalies, or narrow passages of space as entry points for further investigation. I’m particularly interested in those places where human constructs intersect with things outside their sphere of influence, control, understanding or intention. Discovering the rugged topography of a ‘flat’ wall, the irregular edge of a snapped chalk-line, and a contrail filled sky framed by architecture are just a few examples of this relationship. Inevitably with careful observation, there are places where distinctions become blurred giving rise to questions about labeling in the first place. Is a contrail entirely a human creation? Is a straight line really as precise as it presents itself to be? At what scale is the wall no longer perceived as flat? Paying careful attention to our physical world ultimately implicates and leads to our own structures of meaning. Our ways of compartmentalizing, generalizing and framing information are called into question as certain delineations become blurred. I’m interested in these visual and conceptual regions that beckon a much closer look.
Working between two- and three-dimensions, I investigate these intersections with the use of light, space and found objects. Moss, cardboard, rocks, LED lights, maps or residual construction materials are some of the items selected for their affective, conceptual and poetic charge. Site-responsive work marries my intention with the idiosyncrasies of the space, often taking residence in corners, overlooked utility panels and vents. Digital photographs and projections extend the scope of this investigation even further. These range from quick candid shots taken at the moment of discovery to highly orchestrated compositions within the context of an existing installation. Working this way allows for connections to be made between otherwise disparate phenomena and materials. Illuminating such unlikely spaces and relationships invites viewers to consider the overlooked around them and its conceptual implications.
