My studio practice begins with drawing. I let my hand make the first move, and I follow the image as it unspools. The images that emerge seem received, with my task as the maker to figure out the logic of the totality. As such, my process is a grafting together of a set of elements in a semi-functional whole.
When an image becomes more than the sum of its parts, I explore further. While this starts by rephrasing in a different material – usually painting, sometimes sculpture – what 'exploring' really means is spending time getting to understand the logic that made the initial synergy happen. There's always a form, an internal physics, an energy, or a story that drew me in the first place. The ways in which the shift in material exploits or changes that kernel of fascination forces me to figure the magic out all over again and deeper, and make it work.
Maybe because creating this work is such a discovery process in itself, I don't want the viewer to jump too comfortably into the world I present. To that end, my work uses materials in such a way that traditional conventions of image- and object-making are evoked but must coexist with material elements or methods of making that challenge the illusion. With paintings, I want the provisional nature of the image to be as apparent as the image and integral to it. Doubt and ambiguity commingle with credibility and solidity. Three-dimensional work functions even more bluntly, so that the jerry-rigged manner of making almost thwarts belief that the work functions in ways other than a sum of spare parts, even as the work sets up an ambiguous scene or situation.