My early constructed and assembled objects exploit the ambiguous boundary between two-dimensional painting and three-dimensional sculpture.   They appear on some level to look like paintings and challenge us to figure out how they are not.  They ironize characteristics indicative of painting, such as rectangular containment, flatness, and color, to test their non-painting status. 


The physical characteristics and provenance of these objects affirm their lived existence in real, not illusory space.  They are composed of common household artifacts and are conjoined by repetition or physical linking using standard hardware and fasteners.  The physics of their construction emphasizes compression, gravity, and instability.  Their forms and structures rhyme with the body and elicit a sense of movement, gesture, and meaning. The materials engage actively with their means of support, questioning or dispensing with the conventions of pedestals and frames.