I organize my practice around a materially embodied spirituality, approaching making through questions of transformation, representation, and power. I see in objects and images an implicit being-ness; something that cannot be fully known, but is activated through attention and intention. I wrap other artists’ work with moving blankets, creating transitory sculptures that slip between labor, image, and object. I employ graphite rubbing—a reproductive tool associated with memorial and preservation—as a way of rendering images as residue, absence, memory. I favor ephemerality to permanence.
I investigate the way objects and images imprint each other and how power, meaning, and authorship are translated in this process. My project Standard Moving Blankets, ongoing since 2015, enacts this line of inquiry. I make temporary sculptures through my labor as an artist-cum-art-handler and document and distribute them via photographs, artist books, catalogues, or social media posts. The blankets are then exhibited—folded and stacked–near the artworks they once wrapped.
In the studio, I balance efficient methods of making—often relying on found objects and informal images—with a slowing of perception, allowing the materials of my studio to work on each other and me over time. I subtly shift attention towards the sensitivity of objects and images as a foil to my own position as “maker,” embracing instead the role of “Doubting Thomas”–investigating, searching, and embracing my subjectivity.