I draw on embodied memory and knowledge, sensorial rigor, and the elastic duration of deep play to investigate the poetics of love, loss, and desire. This inquiry takes shape in re/enactments of object relations materializing as performance-based sculpture, craft-based works, and durational performance.

Following Teresa Brennan (1952-2003), love can be understood as intentional attention. It has a direction and an object. An oriented attachment to an object (thing, sentient being, idea, scenario, etc.) is formed through the duration of attention. What we attend to is what we love.

I understand loss as a rupture in the continuity of an attachment to a beloved object. An unforseen and unintentional distanciation from our objects of love. Loss might be experienced as an en/forced pause or unsettling stillness. An extended surge and entanglement of disorienting affects and intensities that remake the body and shift its relation to space, objects, significant others and other others. Loss haunts us sometimes.

Desire, too, can be experienced as an energetic surge, a transformative intensity, an immersive disorientation, a drive that temporarily reconstitutes the body, its surroundings, and its proximate objects. Desire can be overwhelming or frustrating. I understand desire as having to do with repairing our ruptured attachments; desire attempts to bring us closer to lost objects. Desire also reorients attention and forges new attachments. It finds new objects.

Love, loss, and desire
make us, change us, and undo us.
What remains of such experiencing?

My practice is the repetition of a double gesture:

On the one hand, I search for lost objects. All kinds: small, big, happy, sad, ordinary, terrorizing, awkward, beautiful, erotic, frustrating, silly. In/Animate. Some remembered. Others beyond recollection or recognition.

I use my body to encounter materials and sense spaces, to enact the haptic choreographies of craft, and to trace slow gestural movement in order to materialize or conjure the temporary or partial return of lost objects. The forms that emerge mark the contours of relation-as-formation. Of becoming relation. Of relating. Of being related. Elated relating. Belated relating.

And...on the other hand, I’m compelled to let them go. To re-lose beloved objects

I am learning to let go.

The work is what remains of this process.