Much of my artistic work would probably exist in a category I would term, “found, living, social re-installations,” comprised of testimonies, created enunciative (at times, denunciative) spaces containing objects, or collections thereof, conjured by collective grief coupled with hope. 

In my socially derived allegories and nominal commentaries, language in all its forms occupies a central space, and fragments of the real world—memory, community, history, and collective social gestures—are reflected and contextualized along several levels using various materials. 

The natural poetry of human existence and its discourses has catalyzed the visualizing and creation of these re-installations—poeticized languages unto themselves that question conventional meanings by granting expression to what had previously been silenced or veiled by the main cultural discourse. 

I have used a variety of media—sculpture, text, sound, video, spiritual phenomena, and found objects—in creating these “spaces of criticism,” where different ways of being, acting, perceiving, or thinking seep, and, sometimes, flood in to bind others into a discovered simultaneity of pro-social thought and feeling, or, more conductive, into the wider social discourse.