statement

I am inspired by the curiosities of nature, compelled by the reciprocal systems of electronic refuse and captivated by the idea of technologies gone awry. I belong to a generation that witnessed the rapid evolution of technological advancement; groomed to embrace it yet able to recall life before the omnipresence of immediate access to information.  As such, I am both fascinated and repelled by technology and its increasingly invasive role in our daily lives.

I am interested in exploring the emotional and material impact of technology on individual consciousness and experience and the various ways in which it infiltrates or permeates and (re)configures tangible space.  Psychologically and as concrete objects, technologies are portable companions and fixed appendages that provide a physical connection between the self and the expanse of digitized information and communication networks. But regardless of the material attachment to these electronic companions, it is not the objects themselves that are irresistibly alluring but rather the more immaterial connections they enable.  Electronic accomplices ensure we are never far from the people or places of our curiosities and longings, but as digital experiences replace actual ones, how do attitudes towards our physical environments change?  Are we removed from the reality of real-world degradation, when the recorded history of the Internet provides us with pristine digital files, easily retrieved and reviewed while access to accurate information is lost in opinion?

We are all aware of the steady transposition of once precious, now abandoned technology, unemotionally replaced with advanced, more attractive multi-tasking tools as an inherent process of capitalism.  They exist as evidence of the need for actual resources as a prerequisite for digitized environments.  Ironically, this same metaphysical space prides itself as a release from materiality. But the bits and bytes of the digital landscape still require atoms and molecules, and remain based on a physical system of wires and electrical infrastructure.  As they are expelled, they become deemed only as problematic waste: the materials that comprise them built to last while unyielding impulse dooms the object to failure. As we approach humanity’s current trend of incorporating biometric devices in everyday life, what becomes of ‘living-electronics’ as they enter this cycle of obsolescence?

My artworks propose hybrids of technological structures and living organisms. They take form as abandoned technologies that have sprouted with new life, clever artificialities that imitate nature, or biotechnological fixtures of the not-so-distant future.