My work often unfolds as a kind of performance, but mostly for myself: a way of staging images, memories, and unease so I can see what survives once they’re made. I seek less to represent things than to physically construct them, as if building them might make their reality undeniable, or at least unavoidable.
By carefully observing images and then remaking them in miniature, I usually encounter something simple and stubborn, closer to two plus two equals four than to metaphor. “Not pictures of the thing, but the thing itself,” I whisper to myself, knowing I’m misremembering the phrase, and that the misremembering carries its own kind of accuracy.
In the playsets collected under the fictional imprint GenuineModels.USA, simplified figures and hand-crafted environments reconstruct moments that are often uncomfortable, unresolved, or quietly catastrophic. They echo toy soldiers and hobbyist miniatures, but their subjects resist the convenience of heroism. Instead, they insist on keeping playfulness and seriousness in the same frame.
Parallel to this, I work through mail art, zines, and small exhibition spaces, where circulation, exchange, and repetition matter as much as finished objects. A mailbox can become a museum, and a crawl space can become a gallery. These projects are not about explanation so much as presence: putting things into the world and seeing how they persist.
I make things because making is how I think, and my subjects tend to find me before the performance falls away.
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