In 1987, I was born in West Valley Utah. In 1994, I moved to Wausau Wisconsin where I resided till I moved to Minneapolis Minnesota in 2017.
I am a candidate of the M.F.A. program (2019), with an emphasis in Photography and Installation Design at the Minneapolis College of Arts.
In 2014, I received my B.F.A., with an emphasis in Photography at the University of Wisconsin, Stevens Point.
In 2009, I received my Associates Degree of Arts and Science at the University of Wisconsin, Marathon County.
I am a interdisciplinary artist focusing on how functional objects can be used to generate order, disorientation, memory, time, absence, presence, anthropomorphic traits and a space of afterlife.
I often question the history of functional objects and wonder about the lives of the people who used these objects originally. I am captivated by objects for various reasons - to recall a certain person or memory, to reminisce over a moment in time, for the overall esthetic or for the emotion they evoke within me. Objects are so rich with history that they not only give material evidence of a culture from a certain time period, they also can create an identity for those who may have previously owned the object. The wear and tear of the textures of the objects show the history of the object throughout the years from the people who either created them or used them in their everyday lives. The functional objects embody the space of existence and symbolize a paradox of absence and presence. Objects are left behind in a physical sense, while those who used these objects are left behind in spirit. I use objects in my work to create a new narrative locked in time that could possibly answer questions regarding those who may have owned them and who could own them in the present and eventually the future.
Within my work I establish out of kilter spatial relationships through unexpected angles and abstract fractures of objects in order to evoke sensations of certainty and confusion. The play between the repetition of asymmetry and symmetry of geometric shapes and lines establishes motion through time. These interplays are visually perplexing, and are in the vein of an outer body experience, like a jolt of déjà vu, floating and turning on a continuous axis in space. The interaction between rough and smooth surfaces and textures is one of the ways I represent the passage of time. The use of low lighting and soft elongated shadows are used for the eye to reside before returning to follow the movement of the elements. For me, it is about finding the balance in a chaotic world in which we live, and it is the order in the disorder we embody.
Depending on how well an object is made or taken care of it can outlive us—hence an object’s “afterlife.” Just like how every object has an afterlife, I construct anthropomorphic attributes within objects that exist in the spaces of my work as metaphor for an afterlife. I imagine that our spirits and souls live on after we pass on. Where does our energy go? Since the human body is made up of electrically charged atoms and ions, I theorize that our energy is transmitted from our bodies into another dimension not seen to the naked eye; living in an endless infinity. The answers ultimately remain a mystery. Like Socrates said, “True knowledge exists in knowing that you know nothing.”