My text-based drawings and sculptural objects are artifacts of my analysis of language. I examine how we read, write, and recognize marks or objects as units of communication. By stripping all but a few components, I reveal the patterns and irregularities inherent in written text. I am concerned with how these elements of text relate to us, such as the space letters occupy or how they are the byproduct of our movements.
After isolating a characteristic of language that interests me, I create my work through a sequential process: structure, event, and artifact. The structure is both the physical form, such as an underlying grid, and the set of steps or actions that will be implemented to create the piece. The event is the execution of those actions. The artifact is the resulting piece.
I work with handmade paper while it is still wet, stenciling graphite onto
the surface or wrapping the sheet around wire forms. The paper is then allowed to air dry, resulting in imperfect and contorted forms. I have also recently begun creating mechanical apparatuses that release letterforms cut from commercial paper. I produce as many of my materials as possible—pulling sheets of handmade paper, cutting stencils, designing and building apparatuses. Through this I am able to slow down my process and define frameworks within which uncontrolled properties play out. Letting go of control softens the edges and elucidates the beauty of the analysis from which my works develop.