The window in my childhood bedroom was an ideal vantage point for many fantastical events. One in particular was the routine garbage pickup that would occur directly across the street. To me, the importance of this "ritual" was emphasized by the early hour, its regularity, and elusiveness. I observed the workers maneuver the heavy dumpsters and noisy hydraulics like a play I was privately granted access to. The gestures activated a place in my imagination far outside the utilitarian concerns that motivated them.
My work continues to map "hidden" labor through the reverence initiated by this early experience. Through my projects, the field of work transforms into an operatic space where movements and objects fluctuate between the worlds of utility and imagination.
My projects often begin the same way. I document labor ‐ usually my own. I then proceed to ask what eludes the recording device. For me, the worker, as a “body of knowledge” is emblematic of a broader effort to domesticate the foreign. I am interested in the way narratives are constructed in absence, or as a result of, quantifiable information. My projects often mimic investigative methods such as psychology, ethnography, and ergonomics that awkwardly, if not forcefully, organize labor into rigid frameworks.
Rather than celebrating the successes of these reductive practices, my work emphasizes their shortcomings, recognizing the opportunity for freeplay, creativity, and imaginative engagement within structured environments.