I create spaces within which new forms and mixtures become indigenized out of various materials reclaimed from environments I encounter. The detritus of the everyday is recontextualized; transcending its original purpose while transforming its preexisting form becoming in service to something new that evolves from one identity to another. The work is interested in excavating history, and the flipping of tradition to create a multi-layered exchange that rejects the linearity of conventional ideas of temporality. Collapsing divisions between past, present, and future gives birth to fragmented portraits, and hybridized forms, that are not oriented to a specific time or place, but rather floating in a space of disquieting co-existence. My work responds to the tradition of classical portraiture, challenging its singular historical narrative by presenting an alternative through cutting up, re-positioning and then piecing together meaning from the histories that are inherent in the images and objects I recover, and the art historical canon from which I borrow and bring into a new context.
What results is a cross pollination of painting, drawing, collage, and sculpture, and accumulations of domestic items, including clocks, tiles, chairs, mirror frames, moldings, and doorknobs, to name a few. Using domestic items reclaimed from various sites, my neighborhood being one, is a way to map a personal journey, and respond to that specific evolving social landscape; creating a kind of field guide by which to navigate the communities in which I live and travel.