In the past few years I have focused on creating work, which infiltrates and blurs boundaries that maintain social, psychological, and physical barriers. For example: the walls of an institution, the roles of teacher, student, or artist, the boundaries of neighborhoods, the norms of employment, the acceptable, the unacceptable, private and public life. My appeals towards connection are both personal and formal.

Half performance, half material and object oriented; my practice often requires that I be  present when my work is shown. I act as an ambiguous guide. I describe my role as that of being “the artist in attendance”. Though at times a solo endeavor, my work is often collaborative, and surrenders an individual artist’s vision to the will of a group or audience. To me the role of the artist is interpreter, go- between, firebrand and ultimately, secret agent of curiosity and possibility. I am content with the idea that the title of "artist" can be abandoned, taken up by all sorts of people, or twisted to mean a plethora of professions reside in the identity of one person.

My explorations of people and place have led me to a deeper empathy towards audience beyond the art context. I have come to understand more thoroughly the difficulty of artists and individuals in general, in roles that may be perceived as charitable and exploitative, when representation plays a crucial role.

My subject matter includes experimentations in eating local, securing alternative energy sources, traveling by pedal power and delving into an array of gestures pursued in the name of  my relentless DIY aesthetic. The subtleties of my practice are born from childhood runaway fantasies, social anxiety, and my pragmatist/anarchist approach to hierarchy.

In my work, I have attempted to give myself.