Q: You mentioned how you look to triangulate approaches to talk about the “space in between” — can you expand a little on how that manifests in your practice?
A: I kind of hate saying "a space in between" but it's been hard to find a better way to talk about giving shape to an immaterial subject. For my last show, Mood Organ, which was at Tanya Bonakdar Gallery, I wanted to see if I could make objects that convey and carry emotions.
I wanted to give intangible notions like instinct, emotions, and intuition form since they can be felt even though they are essentially unseen.
I don't think there is one way to do this, so I did it every way I could.
In the current show with Francois Ghebaly,
I wanted to dig deeper, to excavate these things we inherited even further. As I worked on this show, I found connections to ancestry materialize in forms I have produced for years, like plants, body casts, and wax. But I also found this language in objects from my own personal history. I have always sought to make work that was even more direct than photography in how it engages and reflects lived life. In art, there is always some mediation. By triangulating the conversation, which is always slightly off-center, the space opens to connect to the real, lived, felt experiences that I want to address.