With poetic license and a touch of humor I approach my investigations with literal or systematic methods of working in attempts to measure and also map seemingly intangible constellations. From a bird's eye view, I excavate larger societal narratives rooted in a personal familial lens, which intersects recurrent themes of collective hungry ghosts, contemporary displacement, and translation of what is found through loss. Inherited or left-behind furniture and personal domestic objects are a frequent material source, which I alter through processes of dissection, joinery, as well as mold making and casting. A repeated formal element pervasive in my practice is mirroring that is slightly offset and essentially imperfect. My method of working is habitually site-responsive, from architectural elements to natural characteristics, and makes use of found materials located where the work then lives. Often these temporary installations are activated with recordings of performative operations that are then repeated as video projections. In tandem my method of working is frequently 'person-responsive,' to either individuals or groups. Many of these works that are correspondent to people are collaborative in nature. On a similar thread, I work in socially engaged, participatory processes that generate co-authored texts. My art practice often lands on a timeline that investigates combinations of rupture, repair, and empathy. The intention for these interactions is to traverse time, be witnessed and purged, or held as keepsakes.