"I like to imagine myself as a paleontologist of my own history; I excavate memories in an effort to glean new information or insight. I sculpt with clay and industrial building materials like plywood and foam insulation. I’m building three-dimensional technical drawings of my memories; the objects themselves lie somewhere in-between drawing and sculpture."

Construction Documents for the Better Part of 1992, as Remembered

Human brains are predisposed to remember spatial information more easily than other forms, such as names, dates, instructions, or timelines.[1] This phenomenon is the genesis of my sculptural process: if spaces are easier to remember than events, will memories be easier to recall if converted into spaces? Through my research, both written and visual, I am exploring the capabilities and limitations of human memory. Specifically, I am interested in the inclination to seek accuracy within memories, and anxiety surrounding shortcomings in their veracity. My practice seeks to synthesize mnemonic learning devices, which rely on inventing visuals and sorting information, with technical drawing, a tool for delineating form from ideas. Utilizing these processes and strategies, I build sculptures that attempt to give a physical, durable form to incomplete recollections.

1. Joshua Foer, Moonwalking with Einstein: The Art and Science of Remembering Everything (New York: Penguin, 2011), 97.