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My work involves creating interventions by embedding myself within the delicate social dynamics of specific sites, often in spaces previously unknown to me. I am drawn to locations with high emotional contrasts and cultural contradictions, seeking to create pathways for genuine exchanges. My motivation is to learn from these environments, not to prove something.

 

For example, in "Dazzledorf," a German brothel served as the setting for drawing lessons where I posed as a live nude model while the workers were taught drawing techniques. They were compensated for their time, and I kept the drawings. This activity allowed me to experience the contradictions within a brothel—despair and pleasure, entrapment and empowerment.

 

In performances like "Eastward Room," I sought unity with fellow travelers of different religious backgrounds by learning their rituals and exchanging artifacts within the multi-faith prayer rooms at London airports. These performances, which encourage generosity and vulnerability, rely on creating genuine moments of exchange to leave a lasting impact on both parties.

 

My work often engages with political borders and public access. In "Shoot," I played basketball over a large barrier fence at the North Korean Embassy in Berlin, with the goal attached to the back of the Embassy, while unable to see my audience as they observed from behind one-way mirrored windows.

Some of my investigations explore public policy in action, particularly the social compromises in health and safety. In "Poisoned Apple," I toxified fruit in public orchards to the maximum federally accepted legal limit for contaminants, and in "Fugitive," attendees were compelled to aid and abet a wanted criminal hiding in plain sight at my exhibition.