In the context of being art, or part of an art work, a familiar object becomes a potent question for viewers to contemplate. It prods viewers to recall the functions of and places the particular items are used. A simple union of a few familiar objects speaks volumes to viewers. The combining of even the most disparately related items will allow us to formulate new meanings or metaphors for the shapes due to the merging of their original individual purposes. I examine this with my sculptural works that explore the union of commonplace domestic and industrial objects.
I accept the baggage that comes along with them; their histories and functions and what each suggests. My intention with these objects, however, is to subvert the contextual boundaries which define them. I manipulate them in opposition to the way they are normally presented, encountered and understood, but leave them recognizable. I am interested in the absurdity of obstructing function and creating unexpected associations between ordinary things.
Ultimately, I strive to provide something entertaining to look at. This can be challenging when working with static sculpture. To keep the viewer engaged, I imply energy, force and movement. I use awkwardly balanced compositions that seem to want to fall over, defy gravity, spin out of control or walk away. I force incongruent objects to depend on one another for support by intersecting and embedding them, creating animated arrangements motivated by indiscernible forces and circumstances.
Titles for these manipulated and combined object works are exactly what is provided in the materials list. I choose to title the work that way in order to force viewers to recall the information that is right there in front of them. I give viewers only what they can deduce from looking at the work, directing them back to the sculptures for further investigation. The title reinforces the primacy of the information that is right in front of the viewers, and requires them to consult their own personal experiences with the objects.