In my most recent series, Return To Me, I present glass sculptures, ink drawings, installations, and sound that explore the interconnectedness of existence, over vast expanses of time. Focusing on dust, from the cosmic to the quotidian, the works consider how entire worlds come from and return to this generative substance. If examined closely enough, I believe the dust could tell the story of everything that ever existed.
This work functions as both a memory archive and cosmic timeline, following the small and the invisible from the beginnings of time, to the here-and-now. Viewers encounter glass blocks: intricate engravings, carved in thick, scientific glass, that delineate a complete mapping of the universe. Ink drawings on paper trace earthly detritus to their cosmic origins. Glass-panel engravings explore the history of dust particles in interstellar space. A soundscape of the interactions of electromagnetic particles from the solar wind, ionosphere, and various planets’ magnetospheres permeates through space.
This work is rooted in research across the sciences, including planetary geology, cosmology, physics, and archeology. Spanning the macro to the micro, Through dramatic shifts in scale, there is a beauty inherent in scientific fact. Here, I examine how infinitesimally small particles connect us to our present, past, and future: how we are born of dust, how we return to it, and how we are all forever connected through it.
Working across drawing, photography, installation and sculpture, my work explores the delicacy of existence, consequence, impermanence, and entropy– and examines the tendency of all things to dissipate, in a constant move towards increasing complexity and disorder.
I’m interested in spaces that are in a constant state of unraveling, in precious objects that fade quickly, and in substances that move through landscapes on the constant verge of extinction. I try to salvage the aftermath details from these moments and spaces, always rendering these smallest of particles in my images in an effort to consider a parallel story. In my work, dust especially, is closely linked to the idea of entropy– it represents all the energy and essence of past ages, possessing a ghostly quality–containing in it all the memories of time, place and experience in its microscopic composition–particles that tell the story of everything that ever existed.
I am especially drawn to those traces of existence that are both rare and catastrophically shattered; simultaneously full of possibility and nothingness, and to the contradictions and dualities that result from moments of irreversible transformation. My work is steeped in expressing these disparities–exhibiting both preservation and obliteration, chaos and fragility, past and future– suggesting both the what-was and what-may-have-been.
With a strong attachment to anachronistic rendering techniques, my drawings are rendered with hand-mixed lamp black ink using traditional calligraphy tools. Always dependent on paper as the primary material used to articulate these ideas, the drawings are also subsequently painted onto walls as murals, often in places that are transitory themselves, or where the mural’s existence itself will be short-lived; or they are engraved onto glass and transparent materials as sculptures, installations, or constructed as photographs, making use of the contrast between the frailty associated with both these mediums.