My artwork examines embodiment and spatial experience through the sensory dimension of wetness. Often it appears as installation; sometimes as sculpture made from materials that show evidence of having been wet, such as handmade paper or evaporated salts; and sometimes I use video, sound, the book, and/or language as time-based formats to connote a state of being/having been wet.
An investigation of the cultural, social, and ritualistic practices of bathing is the focus of my most recent projects. This inquiry is being realized as The Bather’s Manifesto, a foundational and multi-chapter text that explores the auditory and tactile qualities of water and addresses historical, contemporary, and possible future notions of the bather as a signifier for desire, leisure, contemplation, pleasure, and activism.
Implicating the gaze and engaging issues of authorship, perception, subjectivity, empathy, and reciprocation are important to me in a contemporary context, and imagining ways that artworks can serve as means of care for artist, audience, and world are objectives I have assigned to my practice. Pleasure and leisure are tools of preservation under the increasingly oppressive demands of capitalist systems, and I aim for the experience of my work to be a metrics that meaningfully communicates the value of these ways of spending our time in a world that endeavors to diminish them.
My practice extends care toward my own body, mind, and closest communities, as well as further outward toward global ecological landscapes and non-human populations. I believe that experiencing amphibious modalities can be a tool to positively influence how we think about moving through spaces in fluid bodies, between differing cultures, from analog to digital realities, and amidst a world that expands and collapses simultaneously.