“I am interested in the increasingly severe divide between human beings and the natural world. As people become more immersed in their modern landscapes and technologies, their relationship with the world outside of their cultivated spaces becomes more unfamiliar. David Abram's explains in his book, Spell of the Sensuous, that we are “Caught up in a mass of abstractions, our attentions hypnotized by a host of human-made technologies that reflect only us to ourselves.”

My works, both micro and macro, dimensional and flat, explore the sensory deprivation associated with this new relationship between human beings and forms and structures found in the natural world. The works respond to the disenchanted spaces and materials that people occupy daily as they move through the artifice of urban topology. Rooms, buildings, sidewalks, cars, and computers are just tiny elements of a greater landscape that people have cultivated to be their experience with the world they live in. The more immersed they become in this artificial landscape, both physically and psychologically, the more anomalous forms and structures found in nature appear, making nature more alien, more foreign, and more exotic.

My installations are hybrids between manufactured materials and organic forms and structures. These immersive worlds explore sculptural landscapes and environments created site-specifically with ripstop nylon or tablecloth in combination with hex netting. They are temporary 'happenings' that grow using architecture as the substrate. They explore the dialog between consumer culture, artifice, and what it feels like to walk through an environment.

I consider things like the parade floats, graffiti, plastic plants, and piñatas among others, as attempts human beings make to amplify their everyday spaces/objects in reaction to this sensory deprivation. I scrutinize and celebrate the plastic plant, painted bright green, as a stand-in for something living, and the neon streak as something beautiful. In both my large-scale works and my smaller paper sculptures, I pull from textures and shapes from seemingly otherworldly sources, but all the work I make is deeply rooted in the visual and sculptural ecological language of exotic flora, fauna, micro and macro-organisms and the rhizomatic growth that exists as the foundation for all living things.

As this sense of space and emphasis on the physical realm becomes supplanted with the binary, the unreal, and the synthetic, people’s familiarity and awareness of forms and structures found in nature both large and small are beginning to atrophy."