IF MEMORY IS SELECTIVE, WHO DECIDES WHAT WE REMEMBER? IT SEEMS LIKE THE BRAIN, CHANCE, AND THE POWER OF IMPRESSION. I BUT THINK SOME OF THE CHOICE REMAINS WITH US.
MY PRACTICE EXPLORES MEMORY AS A LIVING PROCESS: IT SELECTS, ERASES, AND REASSEMBLES EXPERIENCES, TRANSFORMING A SINGLE EVENT INTO SEVERAL POSSIBLE VERSIONS. I CAPTURE VIDEO OF THE ENVIRONMENT AS A BASE, AND THEN OVERLAY IT WITH LINES, SPOTS, AND SHIMMERS OF LIGHT—MY “STROKES” THAT SHOW HOW MEMORY WORKS: EMPHASIZING, CONCEALING, ADDING.
MY OVERLAYS SOMETIMES ASSEMBLE INTO A RHYTHM, SOMETIMES DISINTEGRATE INTO CHAOTIC INTERSECTIONS.
I USE SOUND AS A SECOND LAYER OF MEMORY: IT CAN SUPPORT THE IMAGE, OR IT CAN CONTRAST WITH IT, CREATING SPACE FOR A NEW INTERPRETATION. THIS WORK ENCOURAGES THE VIEWER TO NEW PERSONAL ASSOCIATIONS—TO THEIR OWN “ADDED” DETAILS.
I WORK WITH INSTALLATION: TRANSPARENT ELEMENTS, MULTI-LAYERING, VOLUME, HAND-ASSEMBLED. I STRIVE TO CREATE FORMS THAT THE VIEWER INTERPRETS FREELY—AND WHICH ENCOURAGE THEM TO NEW PERSONAL ASSOCIATIONS, TO THEIR OWN EXPERIENCE, AND TO THEIR MEMORY, CHANGING OVER TIME.