I recreate and represent objects and settings, translating meaning and remembrance through material to make a peripheral memory solid.
Nostalgia: a longing for a past that never was. It is a curated history based on the ruins and artifacts of the past. Longing for the past is historically cyclical in culture and is universally related to individual personal history. Nostalgia is currently threatened by contemporary immediacy, brevity of material and throw away culture.
Punctum: to be struck by a fleeting reminiscence. The tiniest detail that brings forth a wave of remembrance. A forgotten object, a previously overlooked detail or a photograph of someone in their youth, a face you innately understand but have never seen. Both foreign and familiar. In its familiarity you are struck by its oddness.
Periphery: the background, the blurry action in front of the settings. The background is fixed. The wall papers unchanged and burned into my mind. The starkness of the light. The particulars are blurry, but the peripheral is permanent.
I piece together a personal history from the remains. Objects of use or wear carry an innate closeness to the former owner. Through their enduring objects, I feel a connection to people who are passed.
I appreciate casting as a process. Multi step material translation processes allow me time with the objects. I become familiar with the form, surface, tradition and personal significance of found objects as I spend hours with them making molds, coating, layering, obscuring, extracting and revealing a new (material) identity.
In my current investigations with installation, I am interested in narrating or extending finite moments. The re-creation and adaptation of everyday objects presents a dichotomy of ephemeral materials, handmade yet untouchable. Being at once recognizable in form but enigmatic in materiality. Reflecting on familial photographs and objects in contrast to my internal faded memories, I create disjointed vignettes as incomplete but immersive spaces.