My work explores and seeks to satisfy our burgeoning need for reading experiences that are embodied, tangible, and encompassing as a counterpoint to cultural circumstances that increasingly favor the digital over the material. Through an interdisciplinary studio practice, I integrate artist’s books, prints, photographs, sculptural objects, and installation. Additionally, I collaborate with other artists, curate exhibitions, and publish art criticism and other writing. These dialogues enhance the conceptual and formal scope of my work and situate my practice within a community of artists.

Rooted in intersections between art, literature, history, and geography, the themes of my work stem from a constellation of interests: early quotidian photography, eighteenth-century travel writing and cartography, the migratory patterns of birds, and anatomical maps of the body. A recent series examines how spaces of spectacle both celebrate and marginalize social deviance through imagery inspired by the early 1900s circus. Earlier series explore disparities between the mapping systems of surveillance technologies and the subjective mapping of personal narratives onto the lived spaces of everyday life.

A central question of my work investigates what is revealed by the shift in phenomenological experience when the site of the artwork migrates from the private space of the page to the public space of the gallery. My methodology stems from a desire to invite the viewer/reader into an experiential and bodily relationship with the work: bookworks become narratives unfolding over time as the reader turns the page; installations become activated environments through the physical presence of the viewer.