I make work that points to the holes in totalizing tendencies, in narratives of permanence and inevitability. To this end, I make objects and videos with an internal logic that resists fixity and certainty:
I built a tree house form that is spatially difficult to share because of its narrow dimensions and whose use is not described by its shape. I built the abstracted form of a non-operative, unfinished curving staircase. I built a billboard that uses only images from stock websites, without text or specificity of purpose (an incomplete use of the advertising convention). In my videos, my protagonists refuse accountability and responsibility. My language circles, folds, and alights, but doesn’t land. My objects suggest structure but resist functionality. These objects and characters take oppositional and frictional positions, self conscious of their failure to deliver what their form suggests they might. In this way, I work with cultural and material conventions and by various methods, break the rules of the convention in such a way that calls the forth the possibility for something else, without inserting in their form a new hegemony into that fissure. I am attempting to embed this oppositional and frictional position in immersive media and architecture with the belief that this type of object can support and construct a flexible subject who embraces complexity.
Resistance to fixity is an ideological and political position. In a world built on uncertainty and flexibility, nothing can be simply “as it is and should be” and everything appears as temporary. Things and structures appear as processes, not as essences.
Positing slipperiness or incomprehensibility as a foundational ideological principle would undermine ideas of determination and essentiality of class, status, self, world order, and economy. I oppose this logic to the dominant ideology of mastery over chaos, nature, and the self that has resulted in an enforcement of strict social norms of behavior and an ethos of domination over the environment and others. If the dominant suggestions of ideology are toward certainty, absolute truth, and non- complexity, my work asks: what would resistance to fixity look like as a world organizing aesthetic principle?