I celebrate the dilapidated, the resilient, and the shared experience of all things. I am an observer of living systems, particularly terrestrial ecosystems as they melt into built, human social systems. Those melting points are in-between spaces, like forest meeting field or sidewalk meeting asphalt. There is a surrender of control in those locations, and I am interested in understanding what is worth being sought. The product of that seeking process can become a form categorized as installation or social practice. However, what drives my process is breaking systems and not making an attempt to locate the experience as strictly “art-making.”

Learning from the world is my preference for information-gathering, rather than a textbook or other academic resource. As an example, I am enamored with white-tailed deer in my present body of work. Rather than make work that recalls deer’s anatomy or ecological impact, I am being taught about this “material” through relationships I’ve fostered with local hunters and ecologists. Building interpersonal relationships that relate to my material interest is instrumental in the creation, or absence, of an object. There is constant indecision to create an object, because the experience of material engagement and human connection is art to me. In this way, I am more compelled by the work failing to be defined as “fine art” and instead provoking questions about the materials origin and implications.

My practice seeks homogeny between my physical memory as a practiced laborer and the poetics of my own internal dialogue, which is informed by constant looking. I highlight the humble, dissect the discarded, and engage all material with tenacity and love. All processes on Earth between living and non-living hold an inherent beauty, and rather than impose my own self-expression, I choose to let them exist. My job as an artist is to discover, amplify, and share with those willing to lend attention.