My creative process often begins with walking through the city, drifting, noticing, taking photographs, collecting images. This documentation inspires research trying to understand the things I notice, which might lead to reading about supply chains, protest graphics, or ecology; I’ll draw equally from fiction, nonfiction, and experimental poetics. I rely heavily on intuition and chance procedures to conjure the necessary, if unexpected, points of interconnection. The interplay between seriousness of purpose and folly-by-design has always been central to how I think and make work as an artist.

In the studio, all my visual and textual research is taken apart and examined through an editing process that is informed by my background in printmaking and drawing. By working with the anonymous authority inherent in printed materials, I located my images within the history and potential of documentary graphics. I want to complicate notions of authorship and allow my audience to notice our shared position in the world, in the hopes of gathering a connection, a sense of solidarity or reciprocal alterity. My interest is not in making a documentary image of a real place, but rather staging a scene that will allow for a moment of parataxis, where two or more disparate things can be put into conversation within the viewer’s mind through a trick of proximity. It is my aim to share the world I see around me, to invite the viewer to linger and notice how the things we make, and build connect us across social boundaries and continents.