In the last few years I have focused on creating work, which infiltrates and blurs boundaries that maintain social, psychological, and physical barriers. For example: the walls of an institution,the roles of teacher, student, or artist, the boundaries of neighborhoods, the norms of employment, the acceptable, the unacceptable, private and public life. My appeals towards connection are both personal and formal.

Half performance, half material and object oriented; my praxis often necessitates my  presence at the showing of my work. I act as an ambiguous guide. I describe my role as that of being “the artist in attendance”. Though at times a solo endeavor, my art practice is often collaborative, and surrenders an individual artist’s vision to the will of a group or audience. To me the role of the artist is interpreter, go- between, firebrand and ultimately, secret agent of curiosity and possibility.

My explorations of people and place have led me to a deeper empathy towards audience beyond the art context. Several of the most daunting walls I have discovered are my own. Through my work outside of typical arts spaces, I have come to understand more thoroughly the difficulty of artists in roles that may be perceived as charitable and exploitative, in scenarios where representation plays a crucial role.

My subject matter includes experimentations in eating local, securing alternative energy sources, traveling by pedal power and delving into an array of gestures pursued in the name of  my relentless DIY aesthetic. The subtleties of my practice are born from childhood runaway fantasies, curiosity, and my pragmatist approach to hierarchy.

The buoyancy, or sense of rising, with which I approach the world has led me to works intended to inspire others towards a stronger sense of enlightened self-interest.

In my work, I have attempted to give myself.