My current work explores the intersection of digital, industrial and natural landscapes. A longing to interact directly with natural environments is expressed through the analysis of objects reminiscent and symbolic of specific places. I am not replicating these landscapes but trying to understand and communicate their composition through deconstruction and recombination.
I am inspired by places in states of transition and the inherent relationships between stasis and change, control and flux, and form and process that are central to conceptualizing real and metaphorical landscapes. Upon further examination, I expose these evolving transitions of place in both reality and memory. The exploration of these various digital and real spaces leads to a layering of information that encourages connections among disparate objects while simultaneously revealing frustration and isolation.
From memory or through revisiting specific places through Google Maps, I create abstract and unreal suggestions of landscape. The landscapes I present are abstractions that reflect the experiential interpretations of place and investigate nuanced relationships between natural and human-made environments. Through a critical lens, I examine the varying modes to explore these spaces. I navigate these layers, exploring this complicated relationship, with the intention of reconnecting the viewer with the sense of humanness inherent in memory and history. Suggesting relationships and narratives about place blurs the lines between memories and new realities and present the question what is factual and what is invented.
I think about my studio methodology as a process similar to haiku poetry. This process takes on a 3D reality as linear elements configured in space, reminiscent and functioning similarly to a schematic. The amount of information provided to the viewer is analyzed, considered, and edited to ensure that the work resonates metaphorically, creating a space for the imagination. Similar to how humans have attempted to control the natural world, I manipulate the relationship between the viewer and my art through various levels of mediation. I aim to convey a poetic and critical view of our world evolving, freely combining spaces, imagery and information to explore observations of change and effects of development.
From memory or through revisiting specific places through Google Maps, I create abstract and unreal suggestions of landscape. The landscapes I present are abstractions that reflect the experiential interpretations of place and investigate nuanced relationships between natural and human-made environments. Through a critical lens, I examine the varying modes to explore these spaces. I navigate these layers, exploring this complicated relationship, with the intention of reconnecting the viewer with the sense of humanness inherent in memory and history. Suggesting relationships and narratives about place blurs the lines between memories and new realities and present the question what is factual and what is invented.
I think about my studio methodology as a process similar to haiku poetry. This process takes on a 3D reality as linear elements configured in space, reminiscent and functioning similarly to a schematic. The amount of information provided to the viewer is analyzed, considered, and edited to ensure that the work resonates metaphorically, creating a space for the imagination. Similar to how humans have attempted to control the natural world, I manipulate the relationship between the viewer and my art through various levels of mediation. I aim to convey a poetic and critical view of our world evolving, freely combining spaces, imagery and information to explore observations of change and effects of development.