• My artwork deals with urban change –how the unfixed nature of the city presents itself as an endless pattern of decline and growth. Architectural decay and structural failure, combined with hyper-accelerated development create the continuous and cyclical layering of history that serves as my source material.

    I am interested in issues that come with urban development, such as the fragility of communities and lost histories, but I also intend these concerns to serve as metaphors for more personal subjects: memory, transition, trauma, and loss.

    Each sculptural artwork I create is site-specific –literally made from or attached to the space in which it is installed –and is emblematic of the history of that place. I work in a direct manner, improvising with materials on-site, as a way to make meaning and understand my surroundings and our current place in history. My installations highlight events such as a notable building burnt to the ground by arson, a window bricked-over during redevelopment, a doorway widened during building modernization, or an historic structure razed in a step towards neighborhood revitalization reflecting a community’s changing priorities. Through each architectural intervention in a space, I intend to highlight traces of the past as a way to memorialize what came before, frame the present, and inform the future.

    I am invested in uncovering histories, and I employ a variety of research methods. I search for information that presents itself as a snag or turning point in the line of history, and I have often used one singular haunting image as fuel for an entire installation. I often set out to erect impossible structures, with materials that fall apart as I handle them. I am interested in the makeshift, the provisional, the kluge —and the ways in which we prop ourselves up after trauma or hardship: by any means necessary. With my work, I intend to bring the unseen –structural elements, emotional states, buried histories –into the light, to lay them bare.