I work across a range of media, forms and materials coded in nature using my experience of growing up in a dichotomy between imposing industrial complexes and restorative nature and plants in domestic settings. My work touches upon ideas of morphology of phenotypes, subjects that have become poignantly relevant in today’s environmental climate. Being born into a working class family in Cleveland, I draw upon time spent in my youth in the industrial cities of Pittsburgh and Detroit. There I visited automotive paint factories with my father, a paint chemist, to review metal rectangular paint samples nailed from floor to ceiling. Congruently, I spent time creating living botanical specimen collections with my grandmother that began to overtake the formal dining room and I worked the soil with my grandfather planting vegetables and grafting trees in their victory garden to feed the family. These layered alternate environments inspired a fascination around human interpretations of the natural world informing my practice today. The sculptural-landscape installations and schematic industrial collage paintings began in Paris during artist residencies at École du Breuil d’Horticulture and Muséum National d’Historie Naturelle.
The mind leaves a trace within and the body has memory of the imprint regardless of what is seen. The book, The Embodied Mind: Cognitive Science and Human Experience, notes that a school of thought in contemporary cognitive science considers the phenomenology of human experience as interwoven with the science of the mind through the mental action of understanding thought. The mind and thought are treated within the sensorium because of how they appear in experience. We perceive thoughts with our mind just as we perceive an image with our eye and I’m curious, how are these stored within?