I make installations, sculptures, works on paper and multiples defined by the competing pulls of optimism and pessimism. I see pessimism rooted in the mundane, while optimism suggests transcendence. These inseparable poles generate ambivalence—a productive state of dialectical tension explored through metaphors like dark and light, words and meaning, or concept and physicality (how art must be materialized, and yet it is still expected to convey the ineffable). I'm also interested in how reciprocity—in the form of trust or skepticism—is enacted in the relationship between artist and viewer as mediated by the work of art.
![pessimism - optimism table. 1. in life: [pessimism] mundane: e.g., looking for parking, surrounded by cheap goods. [optimism] transcendant: ideals of progress, technology: ease, convenience. 2. in art: [pessimism] ART MUST BE MATERIALIZED, materials are ubiquitous, manufactured. [optimism] art is still expected to convey THE INEFFABLE. 3. in the reciprocal relationship mediated by the work of art. first cycle in a two-part circuit is between the artist and work of art, second cycle is between the viewer and work of art. both artist and viewer can approach the work of art with skepticism [pessimistic] or trust [optimistic].](../_assets/images_featured/_about/statement_550pxw.gif)
