In my work I attempt to trigger and explore both intellectual and emotional reactions to the ways in which objects interact with their surrounding environment. I try to set up a situation where nothing is as it seems, and our notions of reality are exposed as mere assumptions, based on perceptions and experiences that may or may not bear any actual relationship to the way the world works. Instead, I invite the viewer to suspend past experience and enter into a world where the mind is allowed free rein, even as the body remains constrained by the laws of gravity and the sometimes perceptually imperceptible limits that contain it.

By using large multiples of discarded items in repeating designs that establish unexpected patterns, societal cast offs are made beautiful through the alliteration of form. Once removed from their traditional context, the objects' interaction with the environment becomes unpredictable and unstable. Additionally, through elements like lighting and layout -- that for many artists are not central to the creation of work but almost afterthoughts of installation -- I am able to manipulate and change my audience's understanding of and reaction to the objects in my work. I can shift the focus from individual pieces to the environment as a whole, helping viewers experience the ways in which my work changes that environment: the spaces in between, surrounding, and within each piece become as important as the works themselves and create a kinetic experience of stationary objects.

Works that appear unstable, for example, looming over and even threatening the viewer, create new levels of tension and dynamism within the installation. At the same time, the repeated elements in the patterns of my work trigger feelings of calm, safety, and familiarity that play against this sense of dynamic inconstancy.

In my installations I try to archive a transformative moment, removing the viewer from accustomed modes of thinking and seeing, from the constraints of id and ego, if only for a second. Visceral, emotional reactions are a goal. I carefully calibrate the pieces to indoor or outdoor sites within the notion of a contemporary sublime. This gives way to feelings of pleasure and joy when the viewer recognizes that there is no immediate threat. Although the work initially disorients the viewer, my sculptures soon give way to a delight of solving the visual puzzles, and enjoying the works' graceful and colorful forms. Ultimately, the total environment becomes part of the experience. This process is necessarily informed by my own experience of a particular space or environment, as well as the availability of various objects. Because of this, my work continues to evolve as I explore new materials and locations.