By animating and exaggerating the theatrical notion of Minimalism, I have begun to view my work as a stage designed to mirror and question one’s estranged relationship with an increasingly fragmented world. Using the tropes of theater, the work oscillates between a physical prop and a psychological stage reflecting the distressed social body. In addition, the architectonic nature and corporeal properties address the physical body through object placement and the play of scale in relation to life. Through material contradiction, transformation, and anthropomorphic qualities, the work simultaneously penetrates an interior space or an emotional state.

Endearing, diffident, pathetic, lonely, deformed, playful, and often humorous, these characters and spaces are both optimistic and horrific, alien and real. The work exists in a parallel world between a designer showroom of normative identity and a stage for the failed performing of ideals. These tragically comedic sets, often awkwardly masturbatory and equally mundane, display the nuanced contradictions of the self. My use of familiar materials with a functional history, as well as common modes of display, allow for the construction of a relational site that works to combat a hermetic notion of self-referential art. I want to view these everyday objects and spaces poetically, not for what they are, but for what they can become and create.