I am terrified by the impermanence and malleability of memory. Seen, heard, smelt, and touched, these concrete tableaus frantically seeks to make the past permanent and present through Installation, photography, and sculpture. While these scenes might not be entirely factual depictions of the past, they represent an experience and present it as true, making the past attainable for both artist and viewer.
Often dealing with the deteriorating nature of memory, I am interested in how the obsessive need to document everything and the resulting excess of images that I have accumulated over time has allowed me to rebuild and recreate my memories in a more tangible form.
Issues of sexuality and the relationship between masculinity and femininity have become equally relevant in my work, as I try to bring my father back to life or at least solidify my memories and ideas of him. Through my sculpture and installation, I desperately work to give form to the “masculine” knowledge, skill set, and perspective that I feel my father could have passed on to me. However, poorly executed, questionably functional, feminine, and girly trophies are all that I have to show for the fragments of masculinity that I did inherit.
Because of this, the process becomes just as important as the final piece. As I build these objects and scenes, mostly with wood, metal, and foam, not only do I gain more knowledge about the object or part that I am building (a fuel tank, engine, or axe, for example), but I also become better with the tools and material I am using. My work should feel desperate, obsessive, and a little pathetic, as I frantically try to fabricate moments that no longer exist or might have only existed in my head to begin with. These scenes should seem believable and real, but also be clearly off and somewhat dysfunctional.