My work repurposes found and ready-made objects spontaneously encountered during my daily life. These materials become part of sculptures and whole room installations that are endlessly in-flux. Precariously constructed sculptures result from a process that embraces chance, explores material relationships and mostly uses what is at hand. By using the excess from society, I point at a throwaway culture where things are easily disposed of.
Without a specific narrative, but containing recognizable remnants that hint at a story, my compositions exist as unfamiliar abstractions. Conceived in a playful and intuitive manner, the work examines ideas of informality, improvisation, and new forms of abstract assemblage. To investigate the relationship between the ready-made and artist-made, I often include crafted clay components that blend into the found elements. These ceramic objects are whimsical forms that I long for, yet I would never stumble across in the real world. Juxtaposing handmade, bright, colorful, shiny surfaces against found, worn-out, dusty, plastic surfaces, the works blur their contrasting attributes, proposing instead an improbable material collision.
Like my assemblages, the painterly drawings I make employ the same disjointed process. Marks are gradually layered, as I explore movement, gestures and everyday materials for mark making. Some of these include markers, duct tape and correction tape, spray paint and glitter, among others. They capture the energy of my whole process on a piece of paper, a condensed sample of the gestures and spirit that are always present in my work.
Through mark-making and sculptural gestures, I attempt to own objects that lie on no-man's land: publicly abandoned yet unclaimed and overlooked by most people. I improvise and play, allowing myself to be surprised by materials and their infinite possible combinations. Working both on the street and the studio, I examine how worthless fragments can be transformed into unexpected art experiences.