The uncanny valley hypothesis describes the moment when our perception shifts from kitsch to grotesque as the distinction between simulation and reality dissipates. The theory simultaneously indicates our fascination with simulation and simulacra as well as our propensity for both categorization and valuation. By simulating reality or positing possible near futures, my work operates within the territory of the uncanny valley, creating the space to negotiate authenticity and artifice. Factory-made replicas and cast objects convey a set of connotations which build to create new/cumulative meaning in series. In this way, benign objects take on a seriousness unfamiliar to kitsch and work to articulate political ideas.
Whether used performatively or cast in peculiar materials, my work plays upon associations inherent in commonplace objects and explores authenticity and the allure of simulation through the ersatz mirror. With an interest in merging civic conviction with artistic intent, curious arrangements and seductive visuals give way to inquiry of an equally personal and political nature, both provocative and antidotal.
Working predominantly in sculpture, installation and video performance, my work highlights the space where human nature and culture contradict. Of particular interest to me is the effect of culture on perceived [im]mobility within the structures that order our day-to-day experience. Either through the vulgarity of satire or by sobering sincerity, my work engages with these constructs by highlighting their effect on agency.