A snapping sound, clenched hands. I work to engage tension, anxiety, and hesitation. I am moved by collisions – the clash of limits, the crease of conflicts. A rend of the psyche. I’m fascinated by disjunction and anticipation – a wavering sense of decay and doubt, of sly humor and aggressive action. I create work that charges myself to frame myself; a state of mind against a state of body – the ring of dualism. I begin with words. Spinning thoughts and questions – notes in the moment. I then transform these verbal fragments into visual puzzles. I don't begin with materials, I end with them. The materials are the remnants of pressure - the shards of constructions cast from anxious moments and personal tensions. Laura Mulvey, in an essay regarding “the uncanny” refers to a "fusion between incompatible states of being... displaced into another kind of dramatic tension.” Psychologically, this concerns what is private and concealed – what is hidden not only from others, but  from the self. I work to capture this sense of emotional displacement through the exploitation and exertion of my own anxieties and apprehensions. My work presents riddles to which there are many answers. These riddles form in the spaces between objects and videos that are both multilayered and multimedia.  I'm not interested in creating work that presents a singularity of meaning. I value prediction over prescription – the fear of the unknown. Tense repetition and manipulations of the body pervade my practice. My body is exploited for use and abuse, yet I frame tension only to release tension. Creation yields dilation - the opening of awareness. “Cogito ergo sum,” Descartes said, “I reflect there I am.” Here, the mind and body are divided – a moiety of the self. And it is in this division that my work rests. This is the breach of myself. This is my mode. A snapping sound, clenched hands.