my creative practice questions our assumption that humans occupy a privileged position in understanding reality. As Graham Harman argues, all objects—whether physical, immaterial, fictional, natural, artificial, human, or nonhuman—possess autonomy and cannot be fully reduced to their components or their relations.

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Through my practice, i utilize video, photography,  language, text, and installation to explore ways to reconcile representation with language to hopefully access a field of new possibilities for all living and nonliving agents in the beautiful and strange world we have constructed. i follow Wittgenstein’s notion that “not how the world is, that is the mystical, but that it is.” i am interested in the gaps that hide between the world that is and the language by which we name it.

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What matters is not scale or output, but acuity, affect, dispersal, resonance, and endurance. i introduce tonal alterations that rearrange the regularities made familiar by repetition practices. This creates other ways of remembering and imagining for (non)things that do not get accounted for in the ordinary.

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my practice is stitched into the folds of everyday—observation, recording, alteration, restoration, arrangement, rearrangement, ordering, disordering —it tries to be an antidote to expediency.  Our current human activities favor speed, surface-level engagement, and endless consumption of stimuli; it detaches us from the physical world and from each other. instead of forming lasting relationships with (non)objects, spaces, or communities, we interact with streams of information that are transient and placeless. This shift contributes to anxiety, distraction, and a loss of contemplative life. And to make sense of this fragmented experience, we delegate our enjoyment and experience to other technologies. This is exactly what my creative practice pushes against:. perhaps, the passive experience is the transformative experience.