I often invite the unexpected into my practice by engaging the world directly through projects of intervention and collaboration, which can only happen outside the studio. These may take diverse forms such as as environmental interventions (Bornholm Project), interactions with various communities (We are Working All the Time, Ellensburg Constructs), an international word-exchange (Palavras), and a made-up library (Scientia Library Project). Still, they share a larger context of investigation of how we—as individuals, communities, and cultures—come to make sense and know of things.

While my pieces are grounded in the tactile experience of the materials, they are also ephemeral. Their physical fragility also reflects on the temporal and subjective nature of human relations. The art making process is a way to scrutinize messy human states: consciousness, memory, weakness and resilience, courage, love, desire, and loss, and in doing so, ponder the experience of being caught up between competing possibilities of rationality and emotion.

More literally speaking, House of Reason and many of my fiber and mixed media pieces, such as Slippage, Insomnia, Cover to Cover..., the In Between and Positions series, is built from thousands of tiny connections. Each joint, each connection is simple, yet in them being together the resilience of the resulting structure is not to be underestimated.