My practice involves playful manipulations of flat material and the intricate balance of sculptural construction. Though my work exists in its relationship to a white wall, much like painting, I activate the space occupied by the viewer outside the confines of the wall. Paint is employed as a reference to the seemingly familiar, while the space created by the work transports the viewer elsewhere. I am interested in the illusion of perspective and in transforming two-dimensional painting into a new form.

Paint attracts me when it hinges between representation of something and its own descriptive potential. The subject matter I am interested in consists of objects that are tactile and consumable. A painting creates a divide, limiting our senses to sight, with touch referenced only by the residual mark of strokes. The method of painting is a seductive device in its description of the objects; the image references the actions of construction. The marks are attractive in their own right, holding validity as a description of paint, and allowing moments of ambiguity within the image.

My most recent body of work is derived from crime scene photos used in violent cases that my mother has tried as a prosecutor. Banal, uncomposed, and indexical, crime scene photos lay bare the gaze of the law at the moment of its encounter with the traces of human trauma. Beyond the scene itself, they depict the overlapping gazes of criminal, victim, and law enforcement. When looking these images myself, I embody the perspectives of all and none of these viewers. In this somewhat detached and unstable state, I offer no obvious recourse to form or content.