n all of my work curiosity and pleasure are driving forces. The materials I use are often cheap, discarded household items that challenge conventions of taste and beauty. They draw attention to how art and design migrate throughout culture, from high to low and back again. My imagery traverses the language of abstract art, and that of the domestic and industrial landscape. Increasingly the work reflects my desire to understand the relationship between Modernism and the legacy of industrial and technological progress that permeates contemporary culture.

I have always thought of myself as a sculptor, although my work does not always exist "in the round." In fact much of my work has dealt predominantly with its own dematerialization. For nearly ten years most of my work relied on the walls for its very existence, made by stapling found textiles--often bedspreads and carpets--to walls and other surfaces, using thousands of metal staples. Parts of the fabric and staples were then removed, leaving a residue of shredded fabric and perforated surface as well as densely stapled areas of wall and fabric. However, since 2011 I feel a renewed interest
in constructed form. My recent installations have combined freestanding structures consisting of recycled wood and steel with stapled textiles. I have also discovered and begun to employ paper pulp in my work, thanks to a residency at Dieu Donne Papermill in New York City.

The pieces play with the relationship between sculptural and pictorial space, and invoking landscape, aerial views, and strata. As ever, I am extremely interested in found and accumulated form, the evocative power of every day things, repetition and variation, and relationships between positive and negative space. I am drawn to the spaces that are carved out, and the absent forms that are implied. And most of all, to the view of an object in which it threatens to disappear.