The home has been a fertile site for artists since ‘domesticity’ came into its modern usage during the 17 th century. It has been investigated structurally as both house and family, critically and phenomenally as the uncanny, as the location of safety (privacy) and threat (exposure), and as the birthplace of desires fulfilled and unfulfilled.

Home is a stage supporting mythic roles. It's the setting for an everyday spectacle. And when we cross away from the threshold, we inevitably play a different role than the one inside. The walls, the primary object of the house, function as literal boundaries, as space dividers, where public and private--even within the house/home structure--are kept at a constant, dueling and commingling.

What is revealed when these walls are removed? “Nostalgic memory is a sudden encounter with the thingness of the thing that has been forgotten.” It is within this question that I place my work.

Most of my materials are found and have been used: indoor/outdoor furniture, building supplies, and fabrics.that have become dislocated. Each has a latent, embedded story that is never absent despite my attempt to re-arrange, re-gather, and re-present. I have focused on specific, universal elements (or coded sites), such as curtains or the kitchen table, to begin investigating power structures by way of exorbitant, feminine, passive-aggressive excess, or perhaps simply the revealing of a hierarchy--of who gets the mashed potatoes first. What is seemingly functional for one is not functional for the other; Trading Spouses is evidence enough for that! The home is a circus for most--a freak show, at best. Past functions thwarted, my objects seek to serve a new and absurd function for consideration by each and every one of us, for the re-telling of stories with humor and criticality.

quote: Majorie Garber, Sex and Real Estate