I create momentary escapes by focusing on solitude, simplicity, and contemplation. These spaces are rooted in nostalgia, loss, sentiment, subtlety, and intimacy. I want to recreate experience for the viewer, allowing access through recognition and ambiguity. Life and experience become a trigger for viewer memory, allowing previous events to be reinterpreted. My pieces become a filtered facsimile of real and imagined experience, a packaging of memory and experience that is translated into an artificial physical space.

My structures exhibit a childhood sensibility that is framed by model making, model railroads, theme park dioramas, and playground constructions. Scale plays an important role, referencing the model, and placing the viewer within the work. The works also reference sites of childhood and of childhood play: the beach, the souvenir shop, culverts, canals, small streams, parking lots, construction sites, wooded areas, housing developments, and school yards.

These fabricated situations are theatrical in their fragmentation, simple, yet graphic. This is necessary to create subtle and contemplative microenvironments that become a shared activity between artist, viewer, and artwork. Reality and fantasy are combined to create a new experience, a souvenir of experience, a souvenir of my past; to be shared and embellished upon by the viewer. Experience that can no longer exist is given physical form and presence.

The pieces are representations of places that no longer exist in their original form. They are ambiguous, alluding to the way our memories fade and change over time. They serve to create a space lacking certain specificity, allowing the viewer to fill in the blanks, to relate to the piece in his or her own way, and to react to the work uniquely and individually. I want viewers to be surprised, to be transported, and to locate their own interpretation of the work. The pieces relate to an individual and to a group memory, they are recognizable yet vague, referential yet unspecific.