I make art for many reasons, to explore the world, myself and to track the relationship. I am interested in the investigation of how people manage to exist in a mysterious world and I begin with my own experiences to try and connect ideas and happenings. I think about people, how they are different, how they are the same and how difficult and dangerous it can be to negotiate living in this world even for a day. A life is a vast and rhizomatic thing. Ideas, events and experiences I find complex, monstrous, or frightening I can shoot through rose-coloured lens. I can believe in an optimism that is firmly rooted in pessimism. I read theory, but I write poetry. In my work I use humour, romanticization and fantasy to approach problems too large and too absurd to confront with seriousness. I look at big issues through a microscope and personal issues with a telescope.
I try to explore relationships between people and materials. I want my work to exist as communication. This is one reason I feel so comfortable employing appropriation; using power of already existing materials I transform their cultural significance. What the wind blows in relieves me of my neuroses. Incorporation appropriation, systems and chance into my working processes is letting the universe decide. These elements are very important as I seek participant activation and interaction. Art that happens at the intersection between the ocean and the beach, the flame and the wick, or the artist and the viewer is where I find interesting tensions. I strive for sympathy, humour, sadness, uncertainty and absurdity. I think life is an exquisite thing, fascinating and strange; I don't know how to deal with it except study it, think about it, and communicate about it with others engaged in the practice of trying to live.