While the format of my work varies, my medium of choice has always been metaphorically the short story, or how a series of thoughts, experiences, and concepts can be revealed through an object or situational performance in the most direct and meaningful way. Life provides us with non-stop content: both in the form of non-fiction (our conscious mental states and empirical experiences) and fiction (our unconscious fears, desires, and dreams).
As both a reader and a storyteller of my own experience, I am aware that every work I produce is inherently incomplete. A book cannot speak without being opened. In the same way, the reaction of the viewer or “reader” as I like to think of it is required to complete the artwork. Knowing this, in my praxis I focus less on how I can perfect a craft or the use of a single medium and more on the construction of the perfect vessel for transporting conceptual material. This praxis requires that I continually immerse myself in new processes and a variety of artistic methods and materials that span installation, performance, creative writing, textile art, and book art.
The creation of an artwork is the end of the process for myself as an artist but not for the artwork. The work, a concept embodied in physical matter, must be completed by the viewer. To do this, the viewer must (by reading the artwork) deconstruct its contents back into conceptual material. Only then can the work be considered the catalyst for art, which is not the object itself, but the unique relationship formed between the viewer and the object. Only then can it be considered a work of art, having told its story, a tale crafted by both writer and reader, well.