The irritated hand writes.
Language is the source and product of my creative process. Sculptures
originate out of my own poetry or out of latent narratives that infuse
materials, processes and objects. The three-dimensional works, once they
have taken form, then reinform the words. It is a reciprocal reaction,
like
the interaction between body and mind.
Ghosts grab us with their flash cameras.
Existing at the crossroads between the imagined and the real, my works
have
the capacity to express dualities and paradoxes without resolving them;
to
hover at the intersections between oppositions. It is these junctures
that
most interest me — the threshold that separates a medicinal dose
from a lethal
one, for example, or the moment when the mind makes sense of something
that
was initially perceived as nonsense. Through sculpture and text I explore
the complexity of contradictory elements and their shifting relationships:
discarded alarm clocks and the transformative subconscious, vegetative
growth and the underworld, masculine and feminine, beauty and pain, humor
and fear.
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