Models and structures I employ to arrive at artworks do not lead me to expected outcomes so much as they provide initial conditions. This is what I call an anti-maquette process. Sculpting the path of a visual landscape through bending, removing, and warping a material from an initial configuration, I emphasize non-linear, unpredictable relationships from one plateau of transformation to another.
Virtual spaces are mathematically defined but physically problematic. Pre-existing objects are structurally problematized by imaginative alteration. Materials offer a resistance that guides choices. Meaning is deflected by altering form. The specific and the given are historical facts to contend with as each artwork emerges.
L. L. Zamenhof’s utopian language of Esperanto, which is used to title each piece, was developed in the late 19th Century by borrowing from existing linguistic traditions. This historically conscious system resonates in its universality without erasure, reconstruction without a blank slate.