My work begins with props, stage-like arrangements, and objects that seem ready to do something without ever fully doing it. I make sculpture and installations that hold attention on violence, masculinity, and inheritance to chew on the indigestible nature of these dynamics. I am interested in how these things get staged, absorbed, and passed along. A caveman club, a duck blind, a decoy, a monitor, a void function as structures for a circling story.
I keep returning to the prop because it is honest about what it is. A decoy does its job by being close enough. It stays legible as a facsimile, and in that transparency it can carry a different kind of truth. That matters to me. There are so many forms of mediation that insist on being taken as natural, neutral, or real. A prop makes no such promise. It shows its artificiality immediately. In doing so, it opens a space for dealing with unstable subjects that do not have a singular meaning.
I return to an inherited idea that the father remains unbeatable, regardless of age, scale, flaws, or physical reality. What stays with me is not whether this is true, but how fully it structures perception. The father becomes mythic. The son adjusts accordingly. I use objects to test that elasticity, especially the way violence can be exaggerated, displaced, or held in suspension.
The installations carry the tension of performance. They stage impact, concealment, and witness through objects that seem ready to do something and already late to it. I am interested in the in-between where force does not disappear but changes shape, where masculinity arrives as inheritance, rehearsal, and pressure rather than stable identity. That is where I begin. I build situations where objects substitute for one another, where scale slips, where directness and misalignment sit side by side. The work holds there, in that active middle, where violence is neither released nor absent but kept circulating through form.