If language is a mudslide, and the internet a chorus, redirecting ways materials flow becomes a preoccupation in a lot of my work. My practice brings together fabricated and found objects, often using poetry as an impetus or bridge. The resulting works move across sculpture, installation and text, to rest in the porous border between something narrative and something more abstract.
I am drawn to materials that seem to go against their initial reading, that says something about the way language is ascribed to material, and the way material is appropriated into narrative. Often my work looks to mimic (or contaminate) archival impulses via the creation of collections or series. There is also an interest in spills, stains and glitches, how stuff cannot be held in or contained, despite attempts (often my own) to clean them up. This brings up questions about the interface between materials, stuff and language, and how they resist any kind of containment or constraint.
the icing room project was set up to explore ways we might further play with transience, crossing between the domestic and non-domestic space.