Inspired by my experiences as an educator and fabricator, my studio practice embodies a preoccupation with how and where form is imbued with meaning. Presently, construction materials and building principles form the aesthetic foundation of my sculptures. Out in the world, these materials and principles give shape to our spaces, though they also exist in people’s minds as mental objects and definitions associated with a myriad of ideas and emotions. As such, they are weighted down with and by connections that build the object’s theoretical form while existing in a purely psychic realm. Equipped with a visual language of design, an industrial color palette, minimalism, and geometry, I create artworks that play on such preconceived connections and, subsequently, imbue my sculptures with a false sense of functionality or, alternatively, effect abstracted parts that allude to portions of larger structures. My sculptures and drawings are deliberately ambiguous yet not ambivalent. Continuing in a tradition of minimalism typified by Richard Serra, Carl Andre, or Sol LeWitt, but with a greater interest in material experimentation as in the work of Eva Hesse, I choose forms and materials that reflect current industry standards through their prefabricated appearance, color intensity, and accessibility to average consumers. As a result they convey the inherent meaning of the mental objects they represent in a contemporary context, and build upon narratives created by artists such as Thea Djordjadze, Rachel Harrison, and Isa Genzken.