IF MEMORY IS SELECTIVE, THEN WHO DECIDES WHAT WE REMEMBER? IT SEEMS TO BE THE BRAIN, CHANCE, AND THE STRENGTH OF THE IMPRESSION. I BELIEVE THAT SOME OF THE CHOICE REMAINS OURS.
MEMORY IS ONLY PART OF HOW WE SEE THE WORLD.
MY PRACTICE EXPLORES PERCEPTION OF THE WORLD AS A LIVING PROCESS: IT SELECTS, ERASES, AND REASSEMBLES EXPERIENCES, TRANSFORMING ONE EVENT INTO SEVERAL POSSIBLE VERSIONS. I FILM THE SURROUNDING ENVIRONMENT AS A BASE, THEN OVERLAY LIGHT LINES, SPOTS, AND SHIMMERS—MY “BRUSHSTROKES” THAT SHOW HOW PERCEPTION WORKS: EMPHASIZING, CONCEALING, ADDING.
MY OVERLAYS SOMETIMES GATHER INTO A RHYTHM, SOMETIMES DISINTEGRATE INTO CHAOTIC INTERSECTIONS.
I USE SOUND AS A SECOND VOICE: IT CAN SUPPORT THE IMAGE, OR IT CAN CONTRAST WITH IT, CREATING SPACE FOR A NEW INTERPRETATION. IN THIS WAY, THE WORK PROMPTS THE VIEWER TO NEW PERSONAL ASSOCIATIONS—TO THEIR OWN “ADDED” DETAILS.
I WORK WITH INSTALLATION: TRANSPARENT ELEMENTS, MULTI-LAYERED WORK, VOLUME, HAND-ASSEMBLED WORK. I STRIVE TO CREATE FORMS THAT THE VIEWER CAN INTERPRET FREELY — AND THAT INVITE THEM TO ENGAGE WITH THEIR OWN EXPERIENCES, FEELINGS AND MEMORIES AS THEY CHANGE OVER TIME.