I grew up with two parents who were academics in the sciences.  Every night, our dinner table conversation was shaped by the logic of science.  I was raised to have faith that our world had a universal language or order that connected and contextualized all things.  In my work, I am interested in exploring the non-universal languages that bring drama to the human experience.  Fabricated order and language is personal and specific and I aim to reveal the subjective nuances in orders that present themselves as universal.

I often use found objects and appropriated moving imagery to evoke an awareness of the displacement of materials.  I employ a method of remixing in order to generate a restructured narrative that raises questions about institutionally produced identities.  Remixing conveys my individual experience of these produced identities, which is embedded in the voice of the materials.

Often, the most important aspect of my work is the installation itself.  The site of installation defines how the work will be experienced.  I often extend questions about produced identities to the site that houses the work. The site always brings its own history to the equation and the work will often be installed in response to what the space has to offer conceptually. The choreography of the installation implies an individual identity, cobbled together from the fabricated languages of institutions.