I am drawn to the ephemeral qualities of installation art in the sense that those who can experience my work offer a unique perceptual experience to be had. After the work is gone, all that exists of them are the photographs, interactions, and perceptions; this is a facet of installation art I have come to terms with. The main body of work I am producing is composed of installations visually involving relationships of line and structure. These installations are intended to form a spatial relationship between an engaged viewer and the habitable space around them. My work does not only exist for the eyes, but also the body.
These installational sculptures rely on the audience and the mediation they offer by their presence. The spatial interaction between object and viewer is one of the key components of installation art that I identify with. It is this interaction that I encourage through the existence of the work being presented. The nature of these installations calls for a perceptual experience from the viewer, which in turn transforms the meaning and understanding of the piece from person to person. I rely on the differing sensory perceptions of my audience to determine meaning. That being said, my work is not presented with a predetermined narrative; in fact, the lack of a definitive narrative is intentionally so. Given a lack of narrative, the work I produce is very much focused on material and process. These two key components are crucial to the existence of my work and are attributes that compel me to make the work I make. As an installation artist, the majority of my work relies on the existence of a usable space. One that is conducive and receptive of art. These factors are always considered when I prepare to install and often times dictate the final outcome.
My most recent work is made from latex tubing scraps that is manufactured by a local company. Its physicality and ambiguity are most attractive to me. The tubes arrive to me in a jumbled heap stuffed into boxes. It is here that I begin the selection process by untangling, separating, and organizing the tubes into various lengths, sizes, and colors. I love to interact with the materials in this way because it provides me with the necessary familiarity that I need to fully grasp the materials as objects and components. The process I employ in my work is also another facet that in crucial to the existence of the installations. Stringing the latex tubes through the eyelets anchored to the wall is one of my favorite things about the installing work. It is rhythmic, repetitious, orderly, and natural to me. The movements of my body and hands seem to be as fluid as the materials itself.
These installational sculptures rely on the audience and the mediation they offer by their presence. The spatial interaction between object and viewer is one of the key components of installation art that I identify with. It is this interaction that I encourage through the existence of the work being presented. The nature of these installations calls for a perceptual experience from the viewer, which in turn transforms the meaning and understanding of the piece from person to person. I rely on the differing sensory perceptions of my audience to determine meaning. That being said, my work is not presented with a predetermined narrative; in fact, the lack of a definitive narrative is intentionally so. Given a lack of narrative, the work I produce is very much focused on material and process. These two key components are crucial to the existence of my work and are attributes that compel me to make the work I make. As an installation artist, the majority of my work relies on the existence of a usable space. One that is conducive and receptive of art. These factors are always considered when I prepare to install and often times dictate the final outcome.
My most recent work is made from latex tubing scraps that is manufactured by a local company. Its physicality and ambiguity are most attractive to me. The tubes arrive to me in a jumbled heap stuffed into boxes. It is here that I begin the selection process by untangling, separating, and organizing the tubes into various lengths, sizes, and colors. I love to interact with the materials in this way because it provides me with the necessary familiarity that I need to fully grasp the materials as objects and components. The process I employ in my work is also another facet that in crucial to the existence of the installations. Stringing the latex tubes through the eyelets anchored to the wall is one of my favorite things about the installing work. It is rhythmic, repetitious, orderly, and natural to me. The movements of my body and hands seem to be as fluid as the materials itself.