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With societal mobility on the rise, transience becomes labyrinthine.  It is no longer merely a temporariness in the ephemerality of life, but rather it is an influencer upon human relationships, the land, and the placelessnessof the in-between.  Such mobility manufactures snippets of varied moments, and my own artwork is an aesthetically collaged byproduct of a disjointed (yet collective) existence via varied vignettes as researched by an extensive walking arts practice.


Transience often blurs the lines between visiting and trespassing.  Courts define a trespasser as a person who enters the premises of another without expressed or implied permission of the owner, for the trespasser's own benefit or amusement; it declares landowners owe no “duty of care” to a trespasser, except to refrain from causing willful or wanton injury to the person.  The courts define a visitor as someone with permission or invitation to be on land. Visitors are awarded a higher level of duty of care by the courts than trespassers, but never as high of authority as the “possessor” or “occupier” of privatized land.  It is the duty of care within the undefined space between visitor, trespasser and possessor that my work inspects on an intimate level – with a core inference that can easily extend into political territory.  


If for other than pure matters of safety, the impetus of movement is often motivated by  what tort law cites as “attractions of nuisance” -- something so compelling that people risk harm to explore it (love, money, adventure). Attraction lives within the borders between memory, imagination, exploration, danger, ecstasy, lore and lure.  Nuisance is the inconvenient trickster found in-between here and there.  This topographical illusion between the fragility of, and impetus for, moving through varied place/spaces is what my work inspects.