I was raised in a museum. Actually, it was a house, but it bore a striking resemblance to museums. My family lived among my parents’ carefully curated collections, both natural and manmade. The main difference between our home and a museum was that no velvet rope or blazer-clad security force was employed to keep me, or anyone else, for that matter, away from the fossils, fabrics, art objects, and antiques. I was allowed to touch everything, and encouraged to use it to make, create, and do whatever I could imagine. No other life experience has shaped my artistic practice more dramatically. Being raised in an environment that encouraged play, make-believe, experimentation, touch, and even failure, has made me believe, as an artist, that trying new combinations, materials, and themes is always acceptable, and that failure is its own form of success.
In my work, I often combine familiar elements in new ways, in order to illustrate concepts that are not easily communicated. I believe that art should be approachable to more than the elite, initiated few; if artists only make art for other artists and a handful of wealthy patrons, what have we really accomplished and what kind of conversation are we instigating? I believe that the evolution of visual art has been a continuous journey to find new ways to connect something viewed to something that is felt and experienced. This belief has caused me to enter a more conceptual and interactive phase in my artistic output, so that my art can be a visual conversation, accessible to all.