ARTIST STATEMENT

My work deals with subject matter related to the Space Age, specifically the predictive futuristic approach to product design and the pop culture that came out of the movement. By refurbishing the camp sci-fi aesthetic of the past to fit the new era of human space flight, the work becomes a playful commentary on the commodification of the future and the resurgence of space exploration in contemporary pop culture. Influenced by residential Mid-Century Modern architecture, specifically the implementation of balance, intentionality and notion of accessibility, each piece exists in a neo-Space Age interior case study made up of unfamiliar objects. This study intends to speculate what role objects will play in domestic space of the future and explore the ways in which we use objects to communicate identity.

 

Unfamiliar objects supported by precarious structures convey my personal relationship to domestic life. The representations of domestic bliss and aspirational living that I have been presented with, and that I reference in the work, are often overtly heterocentric. A DIY approach to constructing anxiety inducing displays, becomes a way for me to reclaim my masculinity as a queer man in these fictionalized domestic spaces. Fear of domestic bliss being unattainable, and a longing for community and connection are driving forces behind the need to create domestic objects that transcend time and space. By not existing in reality but acknowledging it, these transcendent objects disrupt norms associated with the material as it relates to domestic space. In blurring the line between fantasy and reality the aim is to stimulate curiosity and to call into question our innate fear of the unknown.

 

My inclination toward the ceramic medium lies in its relationship to domestic life. The material of ceramics is an expert at navigating domestic space; it is present throughout the home. It occupies space in the kitchen in the form of dinnerware, a backsplash or the tile on the floor, in the living room it morphs into a vase or a dish on the coffee table, a lamp on a bedside table, and a bathroom could not function without its presence. In stripping the ceramic objects of their functionality and placing them within the context of this fictionalized futuristic domestic setting, the viewer is positioned in a space between the known and unknown. It is in this space that I communicate my reality as it relates to domesticity.