My sculptural objects, installations, images, time-based works and performances elevate the mundane operations of social behavior and public/private life to states seemingly worthy of recognition and significance while simultaneously depreciating these positions through humor, reverie, subtle adjustment and outright fabrication. I’m interested in combining trivial things with things remarkable and the resulting objects, ephemera and situations that can be cultivated from such amalgamations. I often explore concepts such as impossibility, collective memory and unbelievable American caucasian-ness—the sort filled with the false hope and joy of the suburbs and transcendent consumerism (plus the promise of low humidity and backyard barbecues). I’m curious about the conflicting safeties and dangers of the banal and the normal. Finding ways to play with the many, varied meanings and shifting permutations of our constructed social systems inherent in these conflicting arenas is a vital part of my work.
Collaboration has always been a central prevailing component of my work, as well. I reject the idea of the romantic artist working in solitude as a bit old-fashioned, irrelevant and sometimes contemptible. I’ve worked with as many as a hundred individuals (artists and non-artists alike) to create my work and as few as a few, or just me—but I am more attracted to what others have to collectively contribute as opposed to just working by myself in solitude. It’s just more interesting that way. Not so normal.