It is an externalization of what has been lodged between the place where collar bones meet, or rather, to contemplate the phenomenological role in the textures of psychoanalysis. I begin with clay, a material that I consider my first and most true form of language; for the clay body resides between the boundaries of the perennial and de-creation, then, I look toward other objects that hold my gaze. Through collected materials and objects, I sculpturally alter careful and not-so-careful arrangements, contrasting formulated pretenses of didactic symbols with forms that emphasize the arbitrary. Utilizing installation, painting, and performance as a means to measure behavior, habit, and movement, of both self and the collective conscious. –This may be thought of in terms of my looking at you, and my responding to you. I’ve been thinking about sensations of the body– or the blockages of, –I wonder about the sensations you may feel and if ‘you’ is the correct way to address the presence of an object.
Informed by my time spent as a competitive gymnast and later coach, the importance of; alignment, form, and movement can be seen throughout my practice. I situate relationships between objects, then, choreograph the viewers’ experience within the room.
Although it is within my expressed purpose of getting lost and giving in to improvisational gestures, this still is no free play of the soul, but a real meeting between physical forms and the conscious act of seeing habits.
–In what way does the body move? – the way breath moves.
