My enacting of artwork starts with a path of least resistance, the simplest realization. But then, I habitually hide and obfuscate the content of the artworks. I make work that is visually and thematically inconsistent; there are no materials, techniques or strategies that are a priori valued more than others. But there are consistent topics: food; teeth; coins; bottles; ducks; dogs; fans; clothing. I believe an artwork lies in the enactment, not the declaration. An exhibition becomes a chance to fold up the images to the intractable walls, or to drown out dialogue with noise.
I recognize that my work does not exist on its own, it is always a response and presented in a context, even one I may not have control over. Therefore I end up with methods – cosmically, telepathically, illusory – of art work making, and of collaborating with others. I try to make the world more complicated. I try to show inconsistencies, ambiguities, and posturing. I feel that I am always in the position of discovering my own opinion. Do I want to rebel? Is it possible to critique? It’s not so far gone, it’s more like an embrace.