Time is the most important kinetic element of my work. I want the audience to feel the physicality in its movement and think of it as chunks, imagined compartments that we can be surrounded by or excluded from. I envision the weight of these containers dragging hard against an inexorable glide. As time is crushed from the future into the present moment, my work often gestures to an allegory in the resulting residue. Video is sometimes deployed in an effort to make sense of this conundrum— the malleability of the freely-streamed image in counterpoint to the tireless ticking of terrestrial life and the static permanence of the architectural form that often surrounds it.
As I observe our social relations shifting against the contours of an evolving digital landscape, I seek to obscure the barrier between virtual and actual in an attempt to convey a notion about what is in between.
At times, I use my work to evoke the weight of physical confinement by boxing the audience into a relationship with image and mass. If one’s consciousness of this relationship gives way to an inexplicable experience, I have at least partially succeeded.