Identity is in the home we create, the goods we possess and in the land we live. We are products of contemporary circumstance looking for comfort and shelter. This desire to be safe shapes our priorities, but in this safety we give up a degree of freedom and power. Identity is made more complex as the world we know becomes homogenized, and globalization takes a firmer grasp. In turn, we look to the convenience of a homeland, likely an idealized notion, for refuge.
An unsure relationship with my ancestry, folk art, war, and nationalism play a fundamental role in my studio research. I was born into a legacy of woodworkers, blacksmiths, quilters, and other handicrafts. These skills were performed for functional and decorative applications. A do-it-yourself attitude prevailed with both economic and personal esteem. We built our own walls to shelter our families; we made our own quilts to keep our families warm. The nostalgia for these lost realities is my catalyst to make art.
The perception of home, or a homeland, informs my choice of materials. Mundane media like paper, fabric, cardboard, furniture, styrofoam, food, and other domicile fixtures become the chosen language. The vernacular consists of flags, atomic explosions, current events, trophies, heredity and the landscape. Drawing, assemblage, photography, woodworking, metal casting and sewing have offered the best translation of content present in the ordinary media. The resulting work investigates a hierarchy between high and low customs created by convenience. My incentive is to blur this distinction by taking advantage of the natural binaries between hand and machine, private and public, comfort and labor and even partisan and non-partisan.
Comparison between photography and sculpture
II started out as a photographer, but I usually choose my medium based off of the idea