There are fairy tales and there is philosophy, theory, written and recorded history, thoughts and postulations, and also knowledge that is unspoken—things that go unsaid; things that are understood through pragmatics or gesture; things taken in from one’s surroundings as an extension of one’s self, perhaps as survival, or as familial engagement amongst kin of sorts. Then, there is the knowledge that is only said, recorded in repeated utterances over generations, across species and categories. Knowledge comes in many forms: articulated in words, or felt and intuited.
The engagement with the perceptual and the reciprocal resonance amongst things in a landscape is central to my practice. My corporeal sensorial engagement is key. My subjective acting and sensing self [embodied perception] is my point of departure, but not to be privileged over other entities. Site and specificity locate my practice within direct corporeal experience. My interest is to show that this investment in the directly felt affect can engage ideas beyond the concrete, as well as what is held within them.
My studio work is integrated with a field practice in a continuum that reflects my greater concerns. My investigations include research into the critical philosophy and theory, as well as small actions and recordings of discrete examples in sites such that have included the Ozarks of Missouri, the Salton Sea of California, Los Angeles, New York City and the Hudson River Valley at Olana. Reflection on historical and practical concerns in concert with notes, documents, and reflections are elements at times integrate and lose differentiation.