QuickSilverDoughHead, or We Change Everything We Touch and Everything We Touch Changes, or an draft towards a artist statement talk

June 2026

Imagine a relay runner handing a baton to another runner then another and yet another. Instantly, the feeling of grasping a thing and the tangibility of sweat and chalk is given and received. Object and subject rub against one another, conferrin awareness, meaning, and knowledge. As the runner she runs, shethey breathes heavy and deep, inhaling the world:—grass,exhaust, humidity—while exhaling theirher own damp interiority. Over and over, she turnsturning inside-out and outside-in. The runner is engaged in an emergent process, a sensational affair,an accrued composition. that enables becoming-with. Likewise, my artistic practice pursues relays as assemblies of contact and exchange through sculptural and social processes of making and unmaking.

My work is Shaped by encounters with specific terrains — from urban pollinator gardens of Berlin and Toronto; to dense rainforests of Tambopata, Peru and Sloth Island, Guyana; intertidal zones of Bergen, Norway, St-Jean-Port-Joli, Quebec,and Annandale, Prince Edward Island; and, now, following a recent move, the boreal forests and grasslands of Saskatchewan. These sculptures find form through repeated gestures of (pouring, covering, building, and hanging) combined applied To Accessible  often malleable materials like (linen bedsheets, papier-mâché, local vegetation, salt-dough, beeswax, composite clay, and found objects) to make certain obscurities visible — an abstract thought, a kind of feeling, those half-remembered dreams, some elusive site, or the transience of social space, a dinner party, a picnic, a bed. While many of these my sculpturesworks resemble something nebulous or amorphous, others begin to form recognizable shapes: billowing curtains, a stack of buckets or chairs, a t-shirt stuffed into a hole, a single sock or a pair of shoes, a variety of assorted pillows, a duck, miscellaneous flowers, some aliens. More recently, these objects have begun to combine into temporary assemblages.