Statement

If ideas and objects were interchangeable my thoughts would have form as soon as they were written down. Instead it seems ideas communicate best when they are actualized, and the craft of an object clarifies only limited aspects of the intended purpose. In an effort to transcend this relationship, my scaffolded objects create a sense of spectacle for the familiar forms they exalt. The complex angles of the structure use tension and balance to support furniture at odd angles, often upside-down. These mid-20th Century cabinets and credenzas, so often mimicked in contemporary furniture collections, are rendered useless. Beyond this irreverence for objects I actually appreciate quite a lot, the sense of scale is liquid, which I use to echo qualities of architectural models and therefore offer suggestions of something more monumental. I consider these sculptures as proposals for larger, more fantastic ideas even while they exist as discrete objects in their current form.

To consider an object simultaneously as an idea, a model, and an independent form, there is a necessary suspension of disbelief that comes partly from my experience with performance and scenic theatre. The sense of artifice borrowed from that medium I hope elicits a sense of universal possibility, that despite conflicting degrees of realization and my critical inner voice, these ideas are still believable and worthy of pursuit.

Because I see all possibilities existing simultaneously and that ideas are equal to the final forms they take, it remains my priority to invent across a range of media and to conceive of transformative shifts between the physical reality of an object or idea and my best hopes for it.

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