...extended interview text from Artsy article July 2018:

Have you always worked in sculpture? Why are you drawn to making three-dimensional work?

In different ways, I have always worked in sculpture, with materials themselves. I want the interaction with my work to be as strong as the experience of walking through the street—to be affected by the weight, strength, visual layering, power, and associations of the environments we are born into, and make our lives in. I tend to get involved in creating works that build on known materials and their contexts, as opposed to making up my own fantastical world.

What do you consider to be the central inquiry at the core of your objects?

Establish terms, of the studio right now: bells, bearings, stones, water, strike tone, stainless steel, concrete, plastic, reflection (mirrors and otherwise), ontology, heteroglossia, fiction and non-fiction, mapping, tree trunks, root balls. Tension and suspension. Not turning away, but facing.

Generally, I have a set of concerns, disturbances, preoccupations, desires, frustrations. My work considers the beauty of roughness, power, tension, restraint. I'm interested in the materials that create our built environment, as well as the flip side of that—how the natural world contends and supports the man-made. Often that means I'm working with industrial and construction materials, I'm ordering things online, I'm not going to the art store.

I'm interested in the affective experience of being a person in the world. I feel what's on my mind in a full scale way, it spirals broadly, and I try to work from that place of strength and power. I have this one life. Yes, I am interested in politics, in everyday injustice, in the wastefulness of war, in destruction, in blockages, in progress, in the grinding and dulling of capitalism, in there seeming to be no end to corporate grip. I'm distracted with fear for my future, fear for my son. I see the world through my eyes, and the lens of my changing experience. I want the objects I make to contain and reflect thought and power, but at the same time, these objects are emotionally drawn out, sensitive to the fragility or the fragmented nature of things. I don't aim to push a specific narrative into the works, but to leave the idea that there is a narrative to be parsed, in the work itself, and also through the titles.

Who are some of your favorite sculptors (past or present)? Why?

Here are some sculptors whose work I'm always excited to see: Fabrice Gygi, Micheal E. Smith, Cady Noland, Martin Boyce, Sol LeWitt, Elaine Cameron-Weir, Andra Ursuta, Wolf Vostell, Nairy Baghramian, Adam McEwen, Franz West, Liz Magor, Anne Imhof, Carol Bove, Mark Leckey, Banks Violette, Roman Signer, Melvin Edwards, Jon Rafman, Vija Celmins, Ron Nagle, Tony Feher, B. Wurtz, Huma Bhabha, Rachel Harrison, Haegue Yang, Donald Moffett, Gavin Kenyon, Anne Libby, Rose Marcus, Rachel Rose, Kaari Upson, K.r.m. Mooney, Monica Sosnowska, Arthur Jafa, Esther Klas, Nina Canell, Alikja Kwade, Josh Tonsfeldt, Yuji Agematsu, Tony Matelli, Oscar Tuazon, Lionel Maunz, Justin Matherly, Rapheal Taylor, Math Bass, Violet Dennison, Nancy Lupo, Lazaros, Dora Budor, Bjarne Melgaard, Mike Kelley, Jordan Wolfson, Darren Bader, Ara Dymond, Cameron Rowland, Eva Hesse, Jeff Koons, Mike Nelson, Micheal Dean, Lena Henke, Rashid Johnson, Tatiana Trouve, Matias Fladbakken, Jessi Reaves, Isa Genzken, Agnes Martin, Carlo Scarpa, Vincent Fecteau, Pamela Rosenkranz, David Hammons, Katarina Grosse, Gregor Schneider, Kara Walker, Christo and Jean Claude, Marcel Duchamp, Robert Grosvenor, Louise Bourgeois, among others

Can you describe your process?

I read and listen, and think and work. Or, I work while I think and listen, then I read. I think and work, and then talk and listen. I keep a lot of materials around me. I read a lot of news, novels, and non fiction. I look around the city, including at the natural and living world all around. I am in love with the zone, the work zone: I like to be in a place in my head, where I can get outside my head.

I work on multiple projects at a time. I like to have things progressing in different stages around the studio, so that no matter when I come into the studio, there's a place to pick up working. I like to work every day; to come into the studio and pick up on what I was doing the day before, to plan for what I can do the next day, and the day after. I am in constant dialogue with my work and studio environment.

Some of the more developed works have a clear workflow, and in newer work, I'm creating a process through experimentation and material feedback. The process provides feedback and it is as though I am collaborating with this feedback. There is a back and forth. I work physically in the studio, linguistically and otherwise, at home.

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