Reflections on my work


My work incorporates drawing, writing, sculptural objects, gesture, and sound, which are combined to form site-responsive installations and performances. At the core of my practice is an improvisational approach, which places value on the contingencies of each situation (such as architecture, season, and social context). I have made works for a diverse range of spaces including hotel rooms, people’s homes, storefront windows, theatres, and a rooftop. While my work is visually-based, I try to create situations that undo representation, through integrating the viewer’s participation, obscuring visibility, or revealing processes that are normally kept “behind the scenes.”

Linking all aspects of my practice is a passion for drawing, especially for its child-like immediacy and capacity to intertwine imagination with the present moment. For me drawing is the most direct, fluid form to express my interests in visual storytelling, materiality, and gesture. I approach drawing as an embodied language, a process of excavation, a way of wandering and wondering. Recent performances have incorporated live drawing, for example continually drawing with charcoal over a period of several days, or projected drawings, using an old overhead projector. I am compelled by the magical effect of the projections – the spatial and temporal displacements that take place when miniature drawings and silhouettes of objects are magnified into huge, expressive scenes right before your eyes. I also like the way it amplifies vulnerability: if I am nervous, my hand is seen shaking on a large scale. It is this merging of the sensuous, the detail, and the theatrical that really interests me. The drawings transform from rhythmic, abstract marks to layered, illusionistic scenes, to fields of enlarged texture, and at times my body becomes another layer in the imagery. With these works I try to capture the palpable yet ephemeral quality of drawing-improvisation. Marking, searching, erasing, revealing, act as an analogy for the imagining of history, and lapses in memory or understanding. Whether on paper or projected, traces from one drawing dissolve into the next, and fragments of narratives gradually emerge, inviting the audience to project their own stories.

With recent works I am exploring the tension between intimacy and theatricality, questioning how to compose a slowly-unfolding space in which the viewer may empathize, or even become part of the scene? I strive to create porous relations between conventional categories such as theatre/everyday; artist/viewer, process/presentation; thought/emotion; strength/fragility, so that a more balanced experience may take shape.