The research I conduct is fueled by historical and contemporary narratives and ideas regarding post-industrial constructs of labor, technologies, and of otherness; of how majority and minority identities are constructed within and around social craft objects.
My images are art prototypes.
My forms are designed objects for the table, body adornment, challenge coins, and [or] large metal constructions that frame structures of power, maps, and the mobility of bodies.
The sublime carcass of the art object is revealed by data capturing technologies such as 3D scanning, microprocessing of sound, motion capture of bodies, and computational design.
Working through the digital medium of computation affords me opportunities to express concepts that are not bound to tangible realities, instead material is manafold of pliability.
As an object maker, digital designing speeds iterations of the art prototype; a virtual whittling of numeric values until the forms meets up with desire. Context, function, and material narratives dictate whether or not the objects manifest tangible.
I am a metalsmith who ideates with computational tools. My use of data capturing, image rendering, physic simulations, and advanced manufacturing output supports my goal of making in metal.
Metal holds scars and reflection in synch. Metal is smelted, fabricated, and formed; some are morphogenic ores stirred into stronger alloys.
Metal functions well with my design intentions and craft materiality. Its alloys are monikers for industrial progress, mass accessibility, noble economics, and ways of living and dying.