My work centers on the function of institutions and networks in society, their relationships vis-à-vis individuals, and how those relationships are constructed, mediated, and altered. This work remains broadly focused on a range of official institutions, from art world institutions such as galleries and museums to government, media, corporate, and legal institutions and structures, as well as informal organizations and groups in society.

I enjoy exploring the dynamics of social contexts, as institutional space creates its own unique social environments.  This can involve exploiting and expanding the overlap between art objects/events and “real-life” objects/events, in particular by using elements of performance.  Juxtaposing real-life non-art objects or events with art environments, audiences, and/or contexts, or vice-versa, holds the potential of destabilizing both the identity of an object or event, as well as the assumptions underpinning our collective expectations for a particular space or environment.  This approach can raise questions about how context defines our behaviour in subtle and often unattended ways, while also assigning ambiguous, self-contradictory art/non-art qualities to objects and events, thereby interrogating notions of value, authenticity, originality and purpose.

When art employs real life as a material in some form, entire networks of other interests and institutions can be dragged through the loophole of the aesthetic object, imbuing the object with qualities that may affect the outside world in different ways.  An object on display can become the locus of a displaced performance occurring elsewhere.