I am fascinated by the implications of proximity: An arrowhead that I make might be placed in the dirt and resemble the findings of an archaeological dig. Or, it might be placed in the silverware drawer in the kitchen and assume the role of a meat tenderizer. Fascinated by these nuances, I pursue installations and sculptures that imply multiple contexts and deny a singular interpretation.
Beginning most often with a ceramic form, I work quickly and intuitively, frequently producing a large body of related pieces. A large form always merits multiple smaller, related forms and small studies always demand large pieces. Once I have a glazed and fired collection of objects, I consider what each one represents, both as a lone object and as a companion to its cohort.
Catch, my most recent work, contains items that might be human-made: Arrowheads, tools, ritual accoutrement. It also contains objects that might occur without human intervention, such as bones, teeth, and scales. It is deliberately variable in dimension; Material can be added or subtracted to clarify or obfuscate meaning. This multifaceted approach to installation reflects my practice as a whole and invites viewers to reflect on their own ambivalence towards one another and the objects they hold dear.