Through many a birth wandered I, seeking the builder of this house.
- Siddhartha Buddha
Everything goes, everything comes back; eternally rolls the wheel of being. Everything dies, everything blossoms again; eternally runs the year of being. Everything breaks, everything is joined anew; eternally the same House of Being is built. Everything parts, everything greets every other thing again; eternally the ring of being remains faithful to itself. In every Now, being begins; round every Here rolls the sphere There. The center is everywhere. Bent is the path of eternity.
- Friederich Nietzche
I have traveled to faraway and distinct places across the United States to make large-scale, site-responsive works since 2015. In this nomadic practice, material and process act as poetic metaphors for – and exercises in – largely philosophical concerns surrounding change and the passage of time. In particular, I am interested in the formation and dissolution of personal landscapes in contemporary settings. The conditions under which these changes take place are, to me, riveting. They include birth, death, migration, myth, meteorological cycles and the temporal parameters of human perception.
During these environmental explorations, labor has given form to largely intangible experiences, such as duration, weather and haptic impressions. Through the repetitive nature of papermaking and installation, I sought to provide cadence to my experience of existence, and of time, as one continuous, disorienting interval. Every step involved in the process of making paper or an environmental sculpture represents an abstract temporal measurement, like the swing of a pendulum or the position of the moon in the night sky.
Each project often sits outside for days at a time. It records changes in its surroundings, such as the effects of humidity, sun, rain, wind, gravity, the viscosity of water and my physical movements. It not only continually reflects these fluctuations, but also illustrates the cumulative interactions between them. The work transforms infinitely, from wet to dry, as its environment changes.
In a way, I’m curious about how the landscape around each project behaves. How does it shift over the course of a day, a year, or a decade? The work functions as a photographic still, or a script, of these unfolding events and processes. It captures something that is unknowable, and deeply mysterious, about one’s knowledge of a place, and of a particular instant in time.
Ultimately, these inquiries are genuine attempts to harness the momentary, such as the passing of a single hour, to allude to the eternal, like the dissolve of dusk into night.