Time is the most important kinetic element to my work. I want the audience to feel the physicality in this movement and accept my invitation to consider notions of interpersonal connectedness, self-reflection, and privacy as imagined compartments that we can be surrounded by or excluded from. As I consider the slippage of time across the present moment, my visual work often gestures to the ephemerality of video imagery.
Taking part in a discourse on spatial relationships, my artwork often takes the form of audio, video, and sculptural installation. As a composer, my musical compositions for film combine sounds that emanate from on-screen activity with sounds and textures in the musical soundtrack. I have a particular interest in the relationship between the unseen presence of sound and the physical concreteness of the visible object.
At times, my studio practice seeks to evoke the weight of physical confinement by boxing the audience into a relationship with mass and form. If this experience blurs interpretation across the individual human senses, I have at least partially succeeded.