My current body of sculpture and installation focuses on an interrogation of vehicular crime in San Francisco and the materials that remain behind to tell those stories—of break-ins, of theft, of urban life and urban conflict.  Through a laborious rebuilding process and the inclusion of additional materials like traditional gold leaf and gold jeweler’s chain, I draw from themes around preciousness and the decorative arts to recreate a desire for my objects. I want people to want the remnants of crimes. Through the process of making, the raw material collected from the streets undergoes a transformation.  It shifts from a sharp, violent material into the smoother surfaces of carefully-pieced objects which radiate and refract light, which glitter and take on various forms. These forms include those of traditional museum objects like the Korean moon jar, organic oddities like Nissan Specimen which poses as a collection-object in a cabinet of curiosities, and jeweled necklace pendants like Oh Bliss… which quotes a passage from the novel A Clockwork Orange.  The imagery in the Fringe Photographs showing the interior of a car bookended by images of the interior of the body echoes my interest in transforming the car glass into organic forms—the idea that a vehicle break-in might represent a psychological assault, like a punch to the gut that makes one feel bodily vulnerable.
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