My practice examines traces left by time, as they exist in landscapes and in collective memory. I work with enduring materials, as vehicles to explore notions of permanence and erasure. I am interested in how we task objects with surviving time, with recording that which memory cannot retain. And how, in turn, these artifacts shape our perceptions of history.

Drawing is at the core of my practice, and the lens through which I experience the world. I view the earth as a drawing, continuously drafted by environmental and human gestures. In previous millennia, time was measured by repetitive, gathering of minerals into geological layers, by notations in clay that became written language, facilitating the narrative of history. In my reliefs, time is counted slowly, through repeated, carved gestures. These marks accumulate in works that form a physical accounting, providing an alternative means of measuring time. Collectively, my sculptures encourage reflection outside the world of commodified time.

Commission approach:
Being fascinated with exploring and utilizing art as vehicle for memory keeping, I’d like to offer how this commissioned object could hold your personal or family history. We would enter into a conversation where I’d ask learn your aesthetic preferences and use our conversations to create a carved artwork. The work could be 2D or 3D, abstract or transcribed. Often my carved works that appear to be abstract arrive from a layering of observations such as aerial views of a city, a texture, along with other direct visual references. Another possibility stems from my recent interest in collecting oral histories and carving words into collected specific materials. I could help in offering questions and prompts for you to conduct an oral history conversation with someone dear in your life. I would also be excited to think collaboratively outside of these ideas to realize a personal and powerful artwork that seeks to preserve memory.