When We Hug, I Hear Your Ear

With sound as a poetics in my art practice, over time I have found a permeable space from which desires and concepts can flow out of imagination into the material world. I don’t set out to make works to sound a specific way, rather I make them and then listen. This creates a more open, conceptual frame in which to work. Considering how an objector assemblage is sounding/could sound or has sounded allows space for silence, for suggestion, for becoming. This poetics, sound as a kind of skeleton key, opens an alchemical space in my practice where surprise awaits me in the studio.