Objects are an inescapable part of our everyday lives, yet they often go unnoticed. We interact with them based on their functions. We efficiently categorize and name them according to broad generalities. Yet, how often do we look past utility and simply observe? Can we ever eliminate the question, “What is it?”

After years of painting souvenirs, inherited treasures, and other objects of sentimental or cultural value, I came to question whether one could erase, mask, or recode the meanings attached to these artifacts by reconfiguring and then representing them. Through paintings, drawings, and sculptures, I study the process of observing forms over time. The accumulating marks record durational changes such as shifting light and color as well as my perceptual interferences.

Instead of focusing on the functional definition of the re-configured objects and object arrangements, their new function is primarily aesthetic. They exist as catalyst for two-dimensional representations—reduced to surface illusion. By eliminating immediate naming, I hope to prolong the process of observation. In a fast-paced technological culture, I choose the slowness of representation to demonstrate that there is always more to see.