s t a t e m e n t
Initiated by a history grounded in fibers, my work explores intersections between the body, translation, the world and the making of language.
My work depicts fleeting processes that cannot be fixed and are virtually impossible to harness. Activated subject matter is gleaned from transformative processes; the velocity of a river’s flow, air currents, rhythmic breathing, transcribed lines that revise and author texts. The use of abstract modes of making solidifies the certainty of temporality, translation, pivot and shift. Subject remains on the move and may unravel and reconstitute at any point. Adjacent relationships afford the potentiality of alternative histories to always be considered.
Nothing is ever permanent in these parts.
I make use of a variety of media to materialize a ‘drawn’ line. Paperworks, sculpture and photographic realitities teeter and toggle between one state and another is where my investigations take flight. Formal in construction, my works make visible the interconnectedness between time and space as if warp and weft. Pictorial constructions present a visual slang of sorts stitched together and sourced from found realities of my discovery. My compositions are initiated by the documentation of juxtaposing paired opposites; palimpsest histories coupled with contemporaneous ones; textural density and spareness; found subjects that occupy vacant spaces; old akin to new; darkness against light; two dimensionality suspended in three dimensional space; tactility found within emptiness and high chromatic patterned surfaces that animate dusty ruins.Linear in construction, my works make visible the interconnectedness between time and space as if warp and weft. Through stacking, suspending, gathering and revising, ideas materialize by way of active mark. The flatness of a picture plane gives way to spatial illusion once a mark is drawn upon it. Disparate ideas dissolve, assemble and resolve in my attempt to materialize alternatives analogous to the buoyancy of mimesis, semiotics and cerebral abstraction.
My work speaks to evolutionary processes as much as to revolutionary ones.
Initiated by a history grounded in fibers, my work explores intersections between the body, translation, the world and the making of language.
My work depicts fleeting processes that cannot be fixed and are virtually impossible to harness. Activated subject matter is gleaned from transformative processes; the velocity of a river’s flow, air currents, rhythmic breathing, transcribed lines that revise and author texts. The use of abstract modes of making solidifies the certainty of temporality, translation, pivot and shift. Subject remains on the move and may unravel and reconstitute at any point. Adjacent relationships afford the potentiality of alternative histories to always be considered.
Nothing is ever permanent in these parts.
I make use of a variety of media to materialize a ‘drawn’ line. Paperworks, sculpture and photographic realitities teeter and toggle between one state and another is where my investigations take flight. Formal in construction, my works make visible the interconnectedness between time and space as if warp and weft. Pictorial constructions present a visual slang of sorts stitched together and sourced from found realities of my discovery. My compositions are initiated by the documentation of juxtaposing paired opposites; palimpsest histories coupled with contemporaneous ones; textural density and spareness; found subjects that occupy vacant spaces; old akin to new; darkness against light; two dimensionality suspended in three dimensional space; tactility found within emptiness and high chromatic patterned surfaces that animate dusty ruins.Linear in construction, my works make visible the interconnectedness between time and space as if warp and weft. Through stacking, suspending, gathering and revising, ideas materialize by way of active mark. The flatness of a picture plane gives way to spatial illusion once a mark is drawn upon it. Disparate ideas dissolve, assemble and resolve in my attempt to materialize alternatives analogous to the buoyancy of mimesis, semiotics and cerebral abstraction.
My work speaks to evolutionary processes as much as to revolutionary ones.
s t a t e m e n t
