在过去的15年里，我的工作已经转向将光作为一种雕塑材料。我重新配置了边界材料——围栏、塑料、玻璃、薄板岩——以扩展和探索室内与室外、雕塑与绘画、视觉与感知、物体及其阴影之间的各种界限空间。

光通常被视为一种有限的存在:它调解我们对世界的视觉意识，但不是我们看到的东西。在我的作品中，光不仅仅是一种被看到的形式，而是构成艺术作品的一部分。光是一种雕塑材料，不是因为没有它就看不到形式，而是因为没有它就没有投影、反射、半透明或阴影，所以绘画/雕塑是不完整的。

我的作品挑战了雕塑、装置和绘画之间的界限。个别作品是混合的，它们介于这些类别之间，而不是在其中任何一个类别中。雕塑即绘画，绘画即雕塑，装置即雕塑又绘画。我将我的作品整体标记为雕塑，以在工作室艺术的批判性话语中提供一个总体框架，以识别弗拉基米尔·塔特林(Vladimir Tatlin)所说的“真实空间中的真实物体”。我用艺术来探索构成我们存在的类别之间的空间。

Over the last fifteen years， my work has moved toward casting light as a sculptural material. I reconfigure boundary materials—fencing, plastic, glass,sheetrock—to expand and explore a variety of liminal spaces between inside and outside, sculpture and drawing, vision and perception, objects and their shadows.

Light is usually treated as a liminal being: something that mediates our visual awareness of the world, but not something that we see in and of itself. In my work, light is not just a means by which the form is seen, but part of what constitutes the work of art. Light is a sculptural material, not because without it one cannot see the forms, but because without it there is no projection, reflection, translucency, or shadow, so the drawing/ sculpture is not complete.

My work challenges the boundaries between sculpture, installation, and drawing. Individual pieces are hybrids, which fall in-between, rather than within, any of these categories. Sculptures are drawings, drawings are sculptures, and installations are sculptures and drawings at once. I label the totality of my work as sculpture to provide an overarching framework within the critical discourse of studio art, to identify work that Vladimir Tatlin called the “real object in real space.” I use art to explore the spaces between the categories that structure our existence.