I consider my art to be an exercise in freedom.
 
My development as an artist has been marked by important shifts wherein one way of working met another and became a third. I maintain a hybrid practice of moving image, sculpture, installation and performance work. I have always made use of the human body, usually my own; it is the vehicle through which I try to understand the world. I may use it as a tool for resistance, an indicator of scale, an instrument for sound or a catalyst for change in the environment. My work is grounded in a basic trust in the body to communicate wordlessly. Places we inhabit, objects in our environment and fleeting perceptual phenomena also feed my practice. I find inspiration in daily events like bedding becoming rearranged while sleeping or a dinner table being completely transformed during the course of a meal.

Working in places ranging from a field of opium poppies to the bottom of an empty diving pool, I operate from the premise that there is no neutral space. Just as a human body can mirror the physical and psychological makeup of a person, an architectural structure or landscape can display traces of its use, politics and history. In any context, I take into consideration the idiosyncrasies of that place and make interventions that are site reflective. Many of my films and installations have explored the impact of performed action on the form of sculptural matter. These framed sites, whether existing as moving images or concrete spaces, have become both context and mechanism for performance work.
 
I view my performances as exercises that use the body as material. They often explore the limits of the body and result in actions that require both physical stamina and mental focus. However, it is the flux of these events that I consider to be the heart of the matter. Through action, existing structures or bodily positions can yield to new forms or states of being. Recording these performed actions on film and video has allowed me to expand this sense of flux through the manipulation of time in the camera and in post-production. In fact, many of my films investigate the potential to reveal collapsed time in a moving image. In any form, my work is increasingly focused on the power of sound as both material and a means for communication. Be it the sounding of my body as I sing during a performance or the soundscape for a video installation, I consider the sonic aspects of my work to be of primary importance as they underscore the fleeting nature of these time based approaches to making and experiencing art.

I remain motivated by the social contract of performance art, whether recorded or in real time, which requires an interaction between performer and witness and thus results in an experience that lives on in the memory of those involved. In recent years, I have chosen to work collaboratively with a diverse range of gifted colleagues who embody their practices in particular ways, including; visual artists Casey Doyle and Peter Reese, dancer and choreographer Yurie Umamoto, American Sign Language interpreter Charlene McCarthy, composers Barbara White, Jason Treuting, Zac Little and Yoni Mizrachi and the ensemble of musicians called Janus. My relationships with these colleagues have had a profound impact on my process as an artist. It has been an honor to work closely with other creative people whose expertise and points of view both challenge and expand my own.
Bibliography Section Article Bibliography Section Catalog Bibliography Section Web Link PDF icon displayed by thumbnail Sold Dot