I begin by looking at materials and seeing their potential. I look to their pulsating, vibrant energies. I look into materials' meanings and their corporeality.
I begin to perform, making quick, decisive actions: smashing materials together for a forced, perfect fit.
The materials speak to me as if guiding my hand to where it needs to be. I have begun to intuitively find this place in my making. My hand is an extension of my thoughts, as it interacts with the “other”. I ritualistically place things, thinking about their context in a higher light.
A splitting of the ego becomes apparent in the works: on one side is me, and on the other side lie materials. I am looking to that space in the middle, to that space right before the final breath leaves the materials and gives of itself, allowing me to drink it in.
The work — the materials — needs to be melded with the artist’s hand, becoming an extension of it. Making is about being present, with something, someone. It becomes like a lover; I begin to anticipate their movements and mimic their body language to better suit your needs and desires.
In every step of my process, I am there. Nothing is inserted in the work that I have not touched and modified with my hand. These movements I make in the metaphysical space become tangible. There is a physical object where there was once nothing and there it will hang, suspended in time by its own blind weight.