Daytona Death Angel, 1994
synthetic hair, wood steel
66x36x24 in

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I think of my installations as unfinished inventories of fragments: objects, drawings, paintings, photographs, and other inventions.  They are improvisational sites in which the constructed and the readymade are used to question our making of the world through language and knowledge.  My arrangements are schematic, inviting the viewer to move into a space of speculation.  I rely on our desires for beauty, poetics and seduction.

The work thus far has used the frame of the museum to propose a secret history of modernity, and in the process, point to stereotypes of difference, which are hidden in plain sight.  I have found the histories of surrealism and minimalism to be useful in the rearranging of received ideas. The objects I make are placed in the canon of modernist art, in hopes of making visible what is overlooked in the historicizing of the artist.  This project has always been grounded in pleasure and aesthetics.