I find the quiet, repetitive, and imperfect labor of art-making to reflect my experience and my own body. I have an instinct to call my work–if not all art–performative, even though my artwork does not depend on my physical presence in its final form. Through installation-dependent sculpture, I perform the making of art objects that formally connote the body, whether that be through the material used, the shapes created, or the physical presence of motion/choreography, noise-making, and scale of the work in the viewing space.
While I have recently begun to incorporate technology and computer-generated graphics, information, and media to drive form, I look to celebrate art objects as communication tools and knowledge production sites through their innate cultural technologies. Specifically, I have long felt that impactful work is autopoietic, and I can exaggerate this by creating systems or structures that give an animation or an independent “livelihood” to the work. Materializing gender, using mycelium to dictate form, creating temporal motion with electric motors and gears, and computer-generating imagery, rhythms, and networks allow my work to have a sense of animation or liveliness.
This liveliness and autopoiesis allows the viewing experience to be intimate, embodied, and “social.” I think that the success of my work is entirely dependent on viewer interaction in the space. I want people that look at my work to become aware of their own bodies in space, specifically the habits, rituals, and pathways their bodies iterate while in the presence of 3 dimensional work.