I am interested in the human body as a complicated abstraction engaged in a perpetual struggle: corporeally real, yet unknowable. My works on paper, videos and new Virtual and Augmented Reality projects rely on physical, embodied action, whether I create it in disembodied virtual space, in large scale analog drawing, or in crafting sound. All of the work isolates moments of struggle or violence in a timeless, immersive void. The void as my primary environment is neutral, allowing the suspension of forms in motion– twisting muscle, rupturing explosions, falling, charred masses. My hope is that viewers will feel and experience the work similarly in their own bodies.
Inspired by a passage in Aftermath, Susan J. Brison’s book on violent trauma and the body, I developed a series of punctured, 3D and VR drawings; Surds (2016). Brison introduced the concept of a mathematical “surd” as a metaphor for irreversible chaos and disruption in an otherwise linear life path following her own horrific sexual assault. A surd is an irrational number that, when placed in a predictable series of rational numbers, destroys all pre-existing coherence. Translated, it means “non-sense,” and “voiceless.” My Surd project engages this metaphor through the juxtaposition of gridded, “predictable” sequences of holes punctured through the skin-like surfaces of chaotic body forms. My aim is to explore the human “rational” desire for understanding through order and logic when faced with the nonsensical. I want to dissect notions of power moving over and through the body, while embracing their intrinsic mutability.
Manifestos and Hollow Point drawings, in analog and VR, create a series of “freeze-frames” which articulate a moment of exertion or velocity in stillness. My intention is for viewers to experience self-reflection as they consider their bodies and the bodies of others as engaged in an ongoing, unsettled contest— filled with vulnerability, strength, discomfort, and defiance. Virtual Reality technology and sound design allow me to amplify and further animate the empathic effect of my two-dimensional drawings as “sculpture” or installation in 360 degrees.