Selected descriptions and artist statements
 

Nocturne No. 1 (2017):

Nocturne No. 1 is a site-responsive work, created to be viewed exclusively at night. This work highlights and frames the existing conditions of its urban site, revealing light phenomena made visible through darkness. The space of the installation is nearly void of light, forcing viewers to wait for the work to reveal itself. Black vinyl is the only physical material utilized in the production of this installation.

 

Between Something and Nothing (2015):

“Je suis l’espace ou je suis.”
(I am the space where I am.)

-Gaston Bachelard, The Poetics of Space

The interconnectedness (the fluidity) between ‘I’ and space provides a foundation for my work and artistic practice. This quote from Bachelard reflects Maurice Merleau-Ponty’s Phenomenology of Perception that proposes the body and space are inseparable. They act as one organism, breathing life into one another, suggesting that both human and space possess agency. Contemporary theorist, Lambros Malafouris, echoes this sentiment, stating, “If there is such a thing as human agency, then there is material agency; there is no way (the two) can be disentangled.” Things, inanimate objects, spaces, act upon us and transform our perceptions of the world. I’m impacted by light and space everyday. I walk into a room, witness the play of light on a wall or ceiling and I am profoundly affected. To use Roland Barthes’ terminology from Camera Lucida, that detail of light is my punctum. These subtle fleeting interactions of light and space wound me. And so, I am drawn to mimic these happenings. I’m not only concerned with how light and space shape our consciousness, but also how architecture retains a life of its own. 

This installation recalls the quality of light that once existed in the Meštrovic´ Gallery, a former artist’s studio (built in 1955). Sculptor Ivan Meštrovic´ created works beneath the vaulted wood ceiling of the studio, which originally contained a row of large skylights. These windows flooded the room with natural light, allowing the space to breathe with the weather and shifting time of day. I attempt to reimagine the architecture’s memory of light, imbuing the space with agency and consciousness. I conceive of this work and this space as a living entity. I am, and my work is, in constant negotiation with the site of the installation. Similar to how Rauschenberg conceived of his white paintings as ‘hypersensitive membranes…registering the slightest phenomenon on their blanched white skins.’, I too, see my work as having a sensory awareness. This installation is timed so that it begins with sunrise and ends with sunset each day. However, it is not the current position of the sun that is referenced, but the position of the sun as it was on this day 60 years ago when the space was a studio. According to Meštrovic´, that which he valued the most was the opportunity to make art “…as long as the light lasts.” By resurrecting the history of the site (from the studio to the gallery), I create an elegy of light and space.