It is often in moments of transition, before equilibrium has been reached, that meaning is most discernable. The unfinished, incomplete, and in-between, where the act of creating is brought to a standstill or moves at a crawl, provide space in which to question our current situation. My work employs subtle gestures in order to subvert our relationships with the materials that comprise a culture based on immediacy. In this way, embracing the unnecessary and inconvenient ceases to be inefficient and becomes a way of valuing experience beyond a means to an end. By turning a blind side to a singular and final result, my work lingers in process and duration, as I make something out of nothing and back again.
In my studio, the process of re-invention is held in contrast to that of following a pattern. A pattern is a map that allows for endless and efficient multiplication of the same object, while re-inventing the pattern exemplifies an endless state of becoming anew. Within this dialogue between re-invention and serial production, time exists as an artifact of perception, alongside the physical materials on my workbench. I take liberties in using, spending and wasting it, asserting the unique pace at which we each bring to experience, thereby refusing it’s distillation into the standardized pace of modernity.
Trained in jewelry and metal work, my practice is invested in the social role of objects and object making. I often utilize found and discarded materials in combination with precious metals such as silver, in order to re-value the over-looked. Currently, my studio work explores modern temporalities, the pace of craft, and the politics of slowness. Using the unfinished project as a possible rupture in existing ideas of progress and achievement within the current technological climate, I am an advocate for thoughtful and prolonged engagement within the everyday.