My practice operates as witnessing. I track how personal memory and public culture meet in the contradictions of American safety, fear, and fatigue. The central figure is my father, a mechanic and hot-rod builder whose habits, jokes, and reversals become a working allegory. I build situations where fragments of that life can be read and tested against the present through altered objects, photographic surfaces, programmed timing, and engineered mechanisms.
A current strand of work focuses on my father’s relationship to Fraggle Rock and how this show shaped his sense of community, risk, and care. I treat the series as a cultural text that both clashes with and plays through his identity structures. In parallel, I refabricate shop objects with high-resolution photographs of his skin, including the seam where tattoo meets natural skin. Some objects remain tipped and covered in that position to hold the moment of impact. These choices keep reading at the surface, where a crease or print concentrates attention more effectively than explanation. Popular media and games enter as structures that rehearse repetition, control, and risk rather than as images. I gather these idiosyncrasies until they begin tumbling into one another and open a space where intimacy and social codes can be felt together.
I continue the work as a sequence of responses that use myth-building as a method for a series of thought experiments. This approach helps digest a political climate marked by absurdity, anesthetics, and contested identity. Repetition and obstruction slow reading so attention returns to the details where contradiction lives. Idiosyncrasies from my father and from popular systems keep tumbling into contact. The installations hold space for recognition and doubt at once, which is the condition I want to name as witness.
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