Through my artwork, I am trying to communicate with nature and in many ways, emulate it as well. By engaging with the natural world in such a way, I hope to create poetic and magical moments that reveal the subtle relationships between humans and nature. So I write letters to the ocean and race with clouds in an effort to tease out and capture elusive moments that arise from everyday encounters. The products of these experiments are often absurd, humorous and subtle gestures that move between public and private spaces and exist in both monumental and intimate scales.
I choose my media based largely on the content and context for the artwork. In my “Letters to the Ocean” project, for example, I use ordinary materials like envelopes and stamps. It is the time and commitment of sending a letter to the ocean each day for ten years that transforms the individual letters and charges the work with its value. In other projects, I have utilized painting, sculpture, video and installation to communicate my ideas. In my recent work, I have been focusing on video and drawing as a means of capturing evocative moments in the world.
A few years ago, I created the video “Outrunning Clouds,” in which I attempted to race with the shadow of a cloud. Out of this exploration, grew a series of similar works like “Shadow" in which I am using a camera to record my shadow appearing and disappearing in the grass. While seemingly effortless, these new video works demand countless hours of research and trial and error in order to capture the right shot. They are contingent on the timing of the clouds, the position of the sun, and the changing weather patterns.
How I come to notice these small moments in my environment is still a bit of a mystery. I attribute it largely to my tendency to look at and document all the mundane experiences that occur in a day. Writing a letter to the ocean every day has caused me to reflect more consciously on these seemingly inconsequential moments. While writing these letters, I found myself beginning to complement the writing with more refined drawings. Frustrated by the lack of visual cohesion, I decided, instead, to create two documents a day: A daily letter to the ocean and a daily drawing.
The drawing component has developed into the project, “Daily Geology.” It consists of a collection of daily compositions that I have made over the last five years in which I have recorded a memorable moment or experience from each day. This daily routine is at the heart of my practice. As with “Letters to the Ocean”, I am interested in slow and gradual actions that over a sufficient period of time begin to carve out and shape forms that are monumental and powerful. In effect, I am creating an art practice that mimics geological processes like drift and erosion. With “Daily Geology,” no given entry carries that much importance. It is only when they are put together that they gain a momentum to illuminate a larger story, one that hopefully evokes an appreciation for the ordinary and daily experiences in my life.