I am an installation artist working with different concepts of time-based media, exploring ideas of loneliness and separation -- not just from others but from the nature of my self. I am also interested in the participation of the experiencer and the materials, especially as a way to complete the physical form of a piece. The materials I use vary greatly but all have a certain technological nostalgia: cassette tapes, 16mm film, jigsaw puzzles, seeds. The final work can range from tiny objects mailed to an individual to large Rube Goldberg like mechanism to be installed in gallery or public space.
I believe all art is installation art because it can not escape the context of where it is experienced. During the lockdown of the pandemic, mail art as a form of installation interested me. Can an object introduced to a private space with participation from the individual transform that space into installation art and change the experiencer’s view of their own space? How else can other spaces be revealed within familiar spaces?
I believe all art is time-based because it cannot escape decay. My experience working at museums made me acutely aware of the exorbitant lengths to keep artwork in a state of timeless immortality. But in reality, every second, all the artworks in the world are slowly changing; they are dying. In that sense, can paintings be time-based works if time becomes a collaborator? Can a painting be made to wear away in specific ways to reveal different layers that will eventually be the work in the future? The time frame would be decades and the changes very slow. How would that effect the viewers' relation to their place in time and their desire to see the work (the work is not made for them but for a future audience)? How else can time be a collaborator?
And like these artworks that I make, I am also trapped in space and time and see my day-to-day life as an extension of my art work.