Statement

Performance and projection are vital in the creation of interactive work. Focusing on objects and installations, I am asking what a piece communicates, how a person physically reacts to my work, and what actions can I persuade through objects. My practice explores the performance of sex, how objects can be sexual, and how objects influence a space’s feeling. Much of my work relies on the viewer looking at the pieces in comparison to their own body. The furniture I make is larger than life. The scale of the work asks the viewer to explore it with their own body. These objects often reflect known furniture typology, but do not fit neatly into archetypes. Examples where I have used this in my work include cushions scaled up to the size of mattresses, a mirror upholstered five inches thick, and a vinyl covered swing over eight feet long. This body of work consists of oversized upholstered forms, some with wooden framing but most without. The focus of the work is on the body position encouraged by the object, and the excessiveness of the piece, both of which contribute to the sexual feeling embodied by the work. While designing objects to be sexual, I look at human interaction and the reluctance people take towards communicating desire. I break down tensions in the vulnerability in being seen through making large interactive objects and installations that entice people to play or “perform.” Positioning selves on a piece which encourages people to be in vulnerable poses, including straddling the object, begins to open the veil. Through interacting with my work, people allow themselves to desire without verbalization. Additionally, I create objects to be used during sex. This work focuses on objects with either hidden affordances or obvious uses. Furniture type pieces are installed into a space where the work and the room can flirt with each other. With smaller objects, I overwhelm the viewer through installing excessive numbers of a singular object. These objects are toys in a sense or take on attributes expected in sex toys. These objects are produced and installed en masse. The objective of this work is to create something that cannot be ignored. If an entire wall or corner of a room is filled with multiples of a single object, what that object is communicating gets through to the viewer. Working in excess also connects to opulence and extravagance, which further connect to sexualized spaces. I am working towards larger installations where the pieces I create work together, dictating the energy of the space.