A friend of mine once called me an evil dollmaker, and I suppose they are not wrong. I create dolls to examine and interrogate the world around me. The doll is a vessel for projection of disgust and desire, for hatred and for love, for giving care, and receiving it.
Pulling from American suburbia, ideas of otherness, and the surreal nature of contemporary life, I approach artmaking as an open-ended mode of thinking and play, oscillating between painting and sculpture, photography and performance, drawing and animation. In the world of painting, the figures exist in psychological spaces where the viewer becomes an intruder on their internal narratives. Through ambiguous forms, fast-paced gestures and nonsensical perspective, the uncanny settings of the figures mirror the interior worlds of the figures themselves.
As a sculptural object, the doll insists on its right to occupy our shared three-dimensional world. I activate the doll through unscripted interventions in public settings also known as Guerrilla performance. Guerrilla performance becomes a moment in which the viewer watches reality and fiction collapse. When situated in the world alongside me as its maker, the doll becomes a protagonist, a stand-in and a mechanism for doubling one's subjecthood. I photograph these performances creating theatrically constructed images in which the doll becomes a tool for the dualities of questioning my objecthood and subjecthood. It is a way of looking inward, a way of looking outward; it is a mechanism to conceal, expose, and to affirm my existence.