I want to expand the scope of protest art to include the endless nuances and textures of subjective experience.
My process is interdisciplinary and materials-based. I use drawing, zine-making, and mood-boarding as forms of preliminary research, investigating the stimulating, banal, and often infrastructural as sites of power and exchange: nightclubs, equipment from wind and water-powered industries, domestic appliances, google image search results, broadcast news, brutalist architecture, sex.
I scan this collection of ubiquitous references for secretions and imprints of power, both institutional and bodily. Through an intuitive re-mixing, this material intersects with personal experience and fantasy, resulting in the production of objects which I use to anchor and map my ongoing inquiry into the location and distribution of power across both personal and public domains.
Right now I am particularly interested in the efficacy of depiction, ritual, and re-enactment as strategies for exposing the instability of infrastructures and processes that consolidate power. I am not yet sure if I find these strategies reliable, and I expect to always experience a productive tension between grassroots protest tactics and more gestural or symbolic forms of action. I have begun thinking of depiction, ritual, and reenactment as conceptual forms of political cartooning, with simulation as the exposure device, instead of caricature. While both devices rely on rendering, caricature uses the humorous deflation of a powerful person or structure to expose corruption and weakness, whereas simulation challenges power through negating singularity, especially through benign and off-kilter imitation.
My practice also encompasses collaborative public art making alongside individual studio work. While I employ much different methods outside of the studio, I am ultimately operating within the same framework of quotidian experience and visual culture as locations from which to critique dominant forms of social structure.