Over the last fifteen years, my work has moved toward casting light as a sculptural material. I reconfigure boundary materials—fencing, plastic, glass,sheetrock—to expand and explore a variety of liminal spaces between inside and outside, sculpture and drawing, vision and perception, objects and their shadows.
Light is usually treated as a liminal being: something that mediates our visual awareness of the world, but not something that we see in and of itself. In my work, light is not just a means by which the form is seen, but part of what constitutes the work of art. Light is a sculptural material, not because without it one cannot see the forms, but because without it there is no projection, reflection, translucency, or shadow, so the drawing/ sculpture is not complete.
My work challenges the boundaries between sculpture, installation, and drawing. Individual pieces are hybrids, which fall in-between, rather than within, any of these categories. Sculptures are drawings, drawings are sculptures, and installations are sculptures and drawings at once. I label the totality of my work as sculpture to provide an overarching framework within the critical discourse of studio art, to identify work that Vladimir Tatlin called the “real object in real space.” I use art to explore the spaces between the categories that structure our existence.