I make installations, sculptures, multiples, and works on paper that elicit viewers’ optimistic or pessimistic attitudes, perceptions, and emotions.
I have used metaphors such as light and dark, words and meanings, and concept and material. I also investigate happiness, positive psychology, and decorative impulses.
I am most interested in the paradox between mundane materials or situations and the irrational expectations, emotions, and experiences than they inspire—such as enlightenment, skepticism, artifice, taste, exuberance or pleasure.
Art objects themselves can exemplify the paradox between mundane materials and irrational expectations. They can function as props for experiences, mediate relationships between artists and viewers, and present opportunities for enacting trust or skepticism. Many of my works can be considered barometers of optimism or pessimism.
I use straightforward techniques, references to visual culture, and common materials like discount store goods. Influenced by conceptual strategies, phenomenology, and psychology, my output is experimental and idiosyncratic, yet shares economical means and candid appearances.
![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)
