Incurable Diver; The Smoke Might be a Place:   a series of sculptures, still quite young, yet brimming with a love of material research, animal families, truth and photography (perhaps as they obfuscate and elucidate each other), aesthetic-specific scaffoldings, and reimagined furnitures. 

The Smoke has many sources;

        Dreams, firstmostly, Fred Wilson’s language and careful observations of preexisting objects, manipulating positions and confronting meanings in beauty and ugliness; Tarkovsky’s Stalker and the mystical water pool scene, a certain fear of something ending or beginning and the gaps in between; Emily Dickinson’s poem I heard a Fly Buzz when I died; Ana Mendieta’s Silueta series the significant typology of a female bodys curated structures; Kevin Zucker’s shelving prints, 5 archetypal objects, and Ann Cvetkovich’s essay In the Archive of Lesbian Feelings, my desire to create “a radical archive of emotion” that once accessed should both preserve and produce a knowledge of a thing and a feeling. Yet these influences and the space in which the sculptures are shown make them complicit with the walls of a gallery, and walls of accessibility, and complicit with my own textual inspirations, culled from animate dreams and transcribed into narrative-fragments. Perhaps these sculptures are large new paginations, squeezed into magnified details of a sentence, a syntax, a typology and typography; perhaps they are tables, and stairs, and chairs, perhaps they are an after image, unlending of themselves to be photographed well or in an understandable way. 

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cast fish (gypsum, Canon black photo ink suspended), scraping, living carbons (1 goldfish, 2 moths, 2 houseflies), MDF (66"x22")