I make work that privileges the tacit, the inarticulate, or the meanings which can exists before language. Meaning is made through shared tools like language, but I also want to consider the ways that these tools can blind us to other possibilities of knowing.
My sculptures are anchored in the real world in the same way that a mushroom anchors itself to a dead tree— reliant on it for nourishment, while, at the same time, breaking down the structure that supports its place in the world. My sculptures, in this sense, take their purpose from the model of digestion, nourishment, and assimilation.
Odd as it may sound, I find an analogy between my work and mushrooms. Consider the common names used for the following fungi: dead man's fingers (Xylaria Polymorpha), Hairy Earth Tong (Trichoglossum hirstum), and Black Witche's Butter (Exidia Glandulosa), to name a few. When paging through a field guide to mushrooms and reading these names, I am reminded of Joseph Campbel who, in reference to lirugy described Latin as, "A language that throws you out of your domesticity". I think we should consider Campbell's words in the context of scupture as well. Sculpture—my sculpture—is a language that throws you out of your domesticity.