artist statement

At best, objects make unreliable tour guides. They cannot argue with the narratives we imagine for them. As a maker of sculpture, I am interested in the way we re-interpret and re-tell the past through the filter of our current experience. These re-tellings also manifest themselves as objects: the museum replica, the diorama, the stage set, or the laboriously hand-sewn and fussily detailed garments of a reenactor.
Objects such as these are the jumping-off points for my projects. In particular, I am interested in the approximations and shortcuts that we make in the interest of re-creating a given historical experience. Take, for example, a period interpreter on Philadelphia's Independence Mall, clad in an 18th-century frock coat sewn from flimsy polyester. Making my own meticulous replicas of historical objects generates its own little slippages and elisions, whether or not my objects can 'pass' as authentic. These slippages connect us to larger ideas about how we write and re-tell history, questioning the narratives we choose to emphasize and those we neglect.
Image from 3D scanning process at Glen Foerd mansion, as part of Scenes for Empty Rooms, 2016.