It is possible that I became interested in art because I was a scientist.

For as long as I can remember, I wanted to figure out what the world really was. Not in terms of word or equation but rather in terms of my body.  I have laid on my back, with one leg sprawled out across the floor and the other stretched up a nearby wall, trying to map out where vertical meets horizontal, wondering how my body fits into that axis.  The force of the wall and floor push back at me, and, as my blood flows with primal urgency, a Cartesian coordinate space springs upagainst my legs.  This is the beginning of physics, where objects are taken out of their original world and placed in specifically defined coordinate space.  My goal is to take physical analysis out of its abstract space by defining a new space with the physical and cognitive properties of the human body.  I take in raw data of my motion, through video and observational drawing, and then frame it in a new coordinate system that contains details describing both the visceral experience of that motion and the body’s cognition of that motion.  Through this process, I want to figure out a way to observe and measure the world as a function of the body’s physical experience of it.

Our observation of the world is defined by the parameters of our body.  What we see is a function of the eye, and what we feel is a function of the fingertips.  While the reality of the physical world is more efficiently contained by constructed mathematical equations, useful for manipulating large entities of data, when it comes time to extrapolate this information back to physical reality, data can become meaningless unless we relate it back to our physical experience of the world.  I believe a human’s ability to see reality through all the mathematics is contingent upon a less scientific means of description.  At this point, description becomes more subjective because we must rely on our own perceptions of the situation.  To be more direct in my study of my experience of space, in lieu of equations, I began to study physics through the body.  I am interested in how I can observe the world through the body’s physical movements.

Experiments with physical motion often yield results in terms of the mind’s awareness of physical motion.  The opposite is true as well: a cerebral awareness of the body directs its physical responses.  I am interested in using my visual experiments to reveal the interface of the body’s cognizance and physicality.  My images of body parts solving puzzles, tugging on objects, or gesturing at each other, create a space where sensual observation and perceptual experience merge.  I am able to effectively create this space when I can physically take the real motion of my body and re-frame it to describe my experience moving.  Thus, the actual process of staging physical motion is a significant part of my artwork, and I use video to record the physical results of my kinetic experiments.  By using editing techniques such as filming upside down, or overlaying two video clips, I translate the raw data of my motion into a new coordinate system, which changes the perspective of the viewer, and consequently their perception of the body.

I ultimately want to ground my ideas about our existence in space in the most tangible, spatial and universal object available to us: our bodies.  My inspiration comes directly from observing the body.  My resulting artwork creates a new space to examine the world through the body.  This new space is constructed at the point where cognition and physical experience merge, and presents a place where both schematic map and sensual experience combine, revealing the physical truths viewers have always known and felt, but perhaps have never seen.