My studio is a stockpile of antique and curious objects. I am drawn to antique items for their design, integrity and history. Before I begin building a construction, I spend a disproportionate time collecting appropriate objects. I then experiment with disassembling these items to the extent where I feel I am able to synthesize the object’s former context with my own meaning. With my interest in taxidermy, toy construction and industrial hardware, I enjoy the challenge of distilling recognizable items into alluring abstractions. I consciously preserve some evidence of the objects’ former use. My habit of disassembling and rearranging my components helps me test the parameters for merging incongruous elements into convincing scenarios.

            Beyond fragmenting my found materials, I transform these objects into my own narratives by reconfiguring them in unexpected ways. As these recognizable images are morphed and upended, their context becomes more dreamlike. As in a dream, my work’s appearance is simultaneously plausible and improbable.