My work concerns the personal relationships I’ve developed with specific objects, achieved through a dialogue of playfulness, the making process, and introspection. Through the development of these relationships, I attempt to remove the limitations of original context and the familiarity associated with these forms. These intimate relationships can be a new framework that allows the integration of new content and meaning. As a culture increasingly concerned with consumption and commodity, we often fail to notice or develop unique relationships with the objects around us. Objects are defined solely by their ability to perform a specific function in our lives. This desire for pragmatic order has increased productivity, efficiency, and arguably made life easier. However, this is clearly a hindrance when it is in our interest to change our perception and create possibilities for unique experience.

        The challenges of this paradoxical situation have in a large part, lead me to slipcasting. It invokes several images of pragmatism: industry, function, and efficiency. As a process, it would seem to divorce the maker from notions of intimacy and connectedness with their object. I seek to challenge these notions of mass production and the assumed human disconnect from it. The requirements of the slipcasting process add a particular vein of content to the work, in that it becomes ritual: a constant rhythm that is bound though repetition, and a meditative quality that comes from such an extraordinary investment of time.

        I am intrigued by the ambiguity that frequents industrial objects in particular. At first glance, they are subtle, often alien, in both meaning and context. Yet we know that they are clearly servants to function, a design tailored to a specific and singular purpose. Due to their particularity, these objects possess an exciting and untapped wealth of possibility to indulge the senses in playfulness. The intuition and instinct found in playing bring about unlimited variations of context, from the ornate to the absurd. Objects reciprocate these gestures, becoming autobiographical icons bearing the importance of play, the ritual of making, and ultimately, the reflection of self.