Pushing and pulling the body in and out of where it belongs. Giving and taking away the ability to live. I am interested in control, orchestration, and producing the affect of palpability onto the lost and lifeless; expressing the possibility for romance in a world of deprivation.

In a world of over-influence, censorship, and over-governance, I often find myself asking the questions: what is the line between comfortable and uncomfortable? Where does familiarity and logic fit into this conundrum? These questions annunciate my fascination with the functions of taste. When someone views something they believe they enjoy, is the attraction based off of the unknowing or based off of recognizing something familiar. I like to play on this tight rope, expressing an interest in an uncanny alternative plane, recontextualizing what is known in the contemporary world; pushing and pulling information in and out of where it belongs.

In; If I am not (only) who I think I am, Why would I be seen as (only) who I think I am? (2024) I blur the recognizability of two figures through uncanny abstraction. The figure is recognizable through its context of being a mannequin, then abstracted by wearing inkjet printed paper and clear packing tape as skin. The two Bodies displayed are punctured by an LED Light rod, whether the penetration is a performance or an accident, the act of stacking bodies is a human action that can be viscerally recognized, blurring the experience(s) of pain and love.

I push the boundaries of what constitutes a body. I push the extent of life and death, creation and formation. I listen to the heart of the object and then listen to mine, finding my place as the conductor of my own orchestra.