Often constructed of many pieces or impressions, this work is not interested in its individual distinct parts but, rather, the larger whole to which the parts refer. It is modular, open to speculation and reconfiguration. I am interested in folding, unfolding and expansion - the potential to reconfigure the same components without altering the meaning. I’m seeking to establish a constant state of in-betweenness with no fixed beginning or end. 

Considering art as a mediator of experience: intellectual, cultural, spatial, and perceptual, my goal, what I believe is intrinsic to this work, is an opportunity for visual and physical assessment. Working from the idea that objects and spaces are occupied centrally by the viewer more than just looked at or into, this work seeks to convey something beyond. Beyond the viewer, beyond the walls of the gallery, beyond the art object or visual experience, one has the potential to apprehend the alliances between things. The significance of the work, then, is its ability to reveal a network of physical and contextual configurations.

This work is hyper-conscious of itself. Half Truth is an image of itself on itself, a metafictional self-awareness that is both object and artifice. Lie references the artful tradition of inlay and wood veneer yet is nothing more than cheap printed contact paper. It is easily interpreted as artful and falsely presents itself as an artifact. Both works are exploring the ambiguous alliance between truth and fiction. They are configurations that prompt us to question the meaning and materiality of the world - our perception of it and our position in it.