My work takes on a variety of forms, as installation, sculpture and drawing. Some of the pieces I make are created to exist in site-specific locations, which reveal a critical relationship between object and place. These nuanced relationships appear in the architectural forms where I live and travel, finding their way into my work, from the residential wrought iron gates of Los Angeles to the gates surrounding The White House. I think of myself as an urban scavenger, searching for interesting patterns and architectural clues that can influence my surroundings and find deeper connections with where I live.
I am also interested in discovering an additional layer of meaning through metaphorical and antithetical implications in architectural structures. For example, the gate acts as a boundary or barrier while also representing security, peace, fear and isolation. I have been photographing residential front gates found in my Los Angeles neighborhood and transforming the images into life-size, hand cut paper and water-jet cut metal replicas. The forms are then piled on top of each other on the floor and walls, which then create a three-dimensional abstraction of pattern, line, shape and mass, constructing a new perspective on the residential landscape.
My process is direct to begin with and specific. I research subject matter through photography, and then draw, replicate, cut, bend, attach and rearrange what I have found using water jet cut metal, hand-cut paper and hand cut foil on paper. The fragility of paper used to represent a chain link or steel gate is important, as well as the rigidity of metal that is then folded, curled and bent into organic and billowy forms. Similarly, paper is thin, delicate, and versatile and has an inherent intimacy. We all have established relationships with paper, whether through drawing, printing, cutting, pasting or writing. Metal, on the other hand, has a distinct association with heaviness, reliability and structural integrity that is challenged through cutting and manipulation.
My trajectory continues to focus is on permanence as fiction. The paper and metal forms serve as monuments to fragility and impermanence, while change, instability, prospect and emptiness flourish in our urban landscape.