Furniture does more than prop up our bodies where we want to rest and hold up our plates where we want to eat. In addition to preparing spaces for us to use, furniture prepares us to use a space. It lets us know where we are if the space is unfamiliar. It clues us in as to what activities we can do there. It even lets us imagine how a space is used by others. Using forms and materials common to furniture, my sculpture embraces an expanded notion of the space we occupy, including ideas like emotional space, social and political space, virtual space, and existential space.

The process often begins with finding an unmet need within the expanded space in question. Once a need is identified, there are two strategies I can employ. The first strategy is to create a piece of furniture that fits that need, for example, a wood cart for social awkwardness, a table for indecision, or a pivoting chair to counter class permanence. The second strategy is to imagine how the imperfect systems that both serve and frustrate the need might look if represented as a furniture piece.

Influenced by thinkers as diverse as John Berger, and Brian Massumi, I have come to view that hope and optimism are misplaced when directed toward future outcomes. The space we need the most help orienting ourselves toward is the present. The absurdity of my sculptures relinquishes the viewer from expected success or failure. Its humor acknowledges the viewer as a fellow toiler. At the same time, the inherent risk of collapse encourages viewers to consider the stakes should cooperation fail. Further, simple balancing systems allow the viewer to consider the reality of unequal burdens, and the extent to which sometimes disproportionate effort is required if we are to elevate each other equally.