My desire for control and basing my sources in concrete fact relates to something more personal. Sometimes I experience anxiety attacks when meeting new people or simply when I find myself in a crowded grocery store. I have hiding places that I frequent when I feel overwhelmed. Fabricating objects and costumes creates situations that I am able to control and in which I therefore feel at ease. Safety is an unusual commodity and is something essential; we can only measure safety in its absence. My work examines the artificial procedures and preparations we use to create that negative proof, that feeling of safety.

More recently, my art has begun to look deeper into the relations and the borders between truth and fiction, especially as it relates to the "science-fiction/science-fact" binary. We live in the era that speculative fiction authors imagined would be "the future" for knowledge, technology, and learning. Instead, we have unprecedented access to information and communication, but profound uncertainty about how true or beneficial this information is. My work examines and exploits that unease; I construct "artifacts," fictional-but-plausible, and allow people's own doubts and contexts to influence their readings. Is the "photograph" of a planet or a crop circle computer-generated, a real satellite image, or something in-between? Is there any truth behind the documentary about a cult? And what does it mean if these things are fictional? The time, effort, and craftsmanship that go into fabricating complex, convincing fictional objects is essential to my work.

Interactive and participatory art objects are a logical medium for extending the themes and moods that I wish to communicate. People's notions of independence and freedom can lead ironically to a sense of isolation and solipsism. My work is an exploration of a structure's hindrance or assistance through interaction or imagination. I play with radically expanded or diminished elements until they become conspicuous. In the same way, I may take a macro- or microscopic view of the realities surrounding the piece. My wall pieces of twisted paper structures evoke hives or cells. These are placed next to prints of subtly-altered photographs of cast plaster planets, designed to simulate real Hubble telescope images that inform us about our universe, but also beside 'bad' photos of crop circles (which are in fact models.) Science fact twists into science fiction, or vice-versa; it is often literally and figuratively hard for the audience to find its footing. The "point" is pointlessness--like a bad joke, with a large build-up that leads to a "punchline" that is ironic, surreal, or a non-sequitur. such as the 'pod' piece, suggesting the possibilities of transportation when in reality you are merely in a fancy trampoline, accompanied by an animation that 'represents' the forces created when using the pod.

A lot of my work juxtaposes simple physical mechanics with speculative science to bring the audience to a place of potential, energy, and excitement. The act of interaction is individual and quiet: not a prison enclosure, but a place for relaxation or even meditative thought. Playing on a long history of architectural overlap between communication space (the telephone booth or recording studio) and transportation space (elevators, teleportation devices), the subject considers how he has "moved" by using the object.