My art practice attends to expanded notions of reproduction: acts of biological and social maintenance, as well as visual and discursive generation. Using video, performance, and installation, I create narrative, material, and spatial interventions that expand the scope of aesthetic experience to encompass social interactions, ephemeral gestures, and speech or bodily acts. Specifically, I explore processes of emergence—that is, how a body, image, concept, or discourse comes into being—as well as the historical and ideological conditions that discipline them. Importantly, my artwork employs a dialectic of theory and practice. Questions of history, ideology, and representation in addition to form, structure, and composition, all inform my capacity to make.

I came to this way of working from a background in sculpture and an interest in the slippages between linguistic and imagistic figuration—specifically, how the manipulation of different media can coalesce into the perception of a body. I am interested in how figurative work can produce visceral effects, exposing the body as a locus of meaning-making: a political organ that acts over time. I use performance to explore what my body can make—physically, discursively, and aesthetically. I approach this from the perspectives of queerness and feminism: In what way does the organization of sexual desire orient the question of social and aesthetic value? In what way do gendered discourses of lack and excess discipline the capacity to create meanings or marks? I began working with video as a way to animate my sculptural work, using the camera to zoom in and frame the play of light on surfaces, creating the perception of new forms. Now, I apply a performative sensibility to video work, creating and using footage that bears the trace of the circumstances of its production. I use video to not only document my live acts, but also highlight the material conditions of documentary practices.

My body is a lens through which I investigate not only action, but also space—particularly the institutional spaces we physically and ideologically inhabit. My work explores how aesthetic, legal, and economic ideologies choreograph the body, as well as how we internalize and propagate these structures. Because my practice often deals with the circulation of knowledge and the conditions of its reproduction, I engage not only museums and galleries as places of production and exhibition, but also less-traditional sites such as domestic spaces, academic conferences, and the internet. More recently, I have begun to focus on ideas of temporal and physical duration, particularly through the exploration of sonic materiality, which has allowed me to explore an unresolved question in the field of performance studies: Is performance a medium that disappears or endures? For me, this too invokes the concept of reproduction. The question of duration offers a way of exploring not only how a performance can be composed or recorded, but also how we recognize intervals of action—that is, how the temporality of production is grounded in the longue duree of reproductive acts.