I can’t imagine feeling anything but detachment from something I myself did not witness. The only things I know for sure come from what was personally seen and experienced, and anything short of that is disconnected – surprisingly unknown and almost imaginary.

The frustration from this has generated a desperate sense to not forget the things encountered in life and a desire to be a part of and make memories of things in the natural world that are mysterious and unfamiliar. The result becomes my work, which is a visual response and sincere exploration of this distance and estrangement felt from the world around me. It is a relentless search for a grounding – a way to create a connection, a history, to this world, however unnatural it may become, through my own observations and fragments of memory.

Through my installations I want the viewer to feel unsettled, but not through a visually deceptive illusion. The scale, fragmentation, and odd appearance of the animals/furniture are intended to shift perception from the ordinary and disturb the connection to the familiar. The constructed displays are interpretations of natural history museum diorama staging and are meant to question the viewer’s placement in their surroundings. By raising the work off the floor it is out of one’s common ground. Some of the subjects confuse time by appearing in arrested motion.

The installation often limits sight lines by framing the three-dimensional pieces in a seemingly two-dimensional scene as to be observed at a distance. The drawing and painting of the ceramic surface is meant to reflect my attraction to early nature drawings/prints and unfinished paintings, in an investigation of some grey area of what is real and not – where focus remains and memory is blurred.