Time is the subject that has sustained my attention for decades.
Everything I’ve ever made is an invitation to remember time’s importance. To feel time. To notice and regard its passing. When working in performance, this interest manifests in crafting duration: how to make seconds visible and visceral, how to stretch and compress an hour. With my object work, I engage larger swaths of time. I collect materials over many years to use in works on paper or sculpture. Whether I’m making something ephemeral or material, I begin with collecting. Collecting sharpens my eye. It connects me to the space I’m moving through.
In past works, I have collected envelopes, bird calls, weather forecasts, twist-ties, coins, sewing needles, costume scraps, pedestrian movements, ritualistic gestures, burnt-down candles, and rainwater. When I’m in the studio with dancers, I collect their histories, nuances, moods, and idiosyncrasies. As I build movement, I draw on their lived experiences and outward physical expression as well as my own. I collect whatever they wish to offer. I bring everything together, listening, sifting, mapping, reworking to create relationships that live dynamically between sculpture and performance.