mark of the artists.

The marks I create are not actions unique to my own experience nor do they refer only to the self (maker) in relation to a particular work. My marks are left in accordance to my body as a part of a larger experience and can be seen as residue for the viewer to access the process. These marks have a physical, material relationship to the action presented by the project’s final, realized form.

The physical properties of the material as well as the methods I apply in the process of making my work are devices the viewer can use to locate him- or herself in relation to my work. Using decipherable materials and tasks that are accessible by others, the viewer can relate to the work on a temporal level. When I approach my work in this manner, it befits a device that is used so the viewer can access a record of a particular action or set of actions. This access leads to a fuller understanding and interrelation with my work. For me, it is apparent that a body (not specifically mine) was used to construct and manipulate the material in the sculpture.

Identifying with my body via their bodies allows the viewers to access the elements of the work that are not immediately apparent through a literal interpretation. The viewers are aware that they are in the behavioural space of the sculpture, a space not imagined but presented in the now. By exposing the fabrication of my work through marks and the body, the viewers’ understanding of the work can be substantiated therefore creating a connection with the object. I refer to this experience as expansive construction and define it as the ability to trace back or retain a core materiality that uses methods of building dictated by the qualities particular to the materials I use.