As those whose history has been destroyed and
misrepresented, as those whose very history has
been dispersed and diasporized rather than lovingly
lovingly memorialized, and as those whose history
has often been told, danced, and sung rather than
written, oppressed people have been obliged to
recreate history out of scraps and remnants and
debris. In aesthetic terms, these hand-me-down
aesthetics and history-making embody an art of
discontinuity - the heterogeneous scraps of
making up a quilt, for example, incorporate
diverse styles, time periods and materials --
whence their alignment with artistic modernism
as an art of jazzy "breaking' and discontinuity,
and with postmodernism as an art of
recycling and pastiche.

ņElla Shohat & Robert Stam,
Narrativizing Visual Culture: Towards a Polycentric Aesthetics

I am a media artist who most often combines
video with organic and found materials to create
hybrid sculptures and installations. By fusing
objects and ideas of disparate worth, knowledges,
temporality and materiality, I create works
that draw on both personal and cultural
observations, remembrances, histories and
desires to reveal connections and convey ideas.

Through the creation of this work I hope to
carve out space, both physical and mental, for
the careful (re)consideration of the peoples,
places, things and ideas that are often swept
under the rug of the American psyche in the name
of sorrow, shame, power, or pride. Video is my
image base because it is, as I use it , a fluid
form of "documentation" that allows for repeated
meditation on a specific thought or moment in
time. Documentation is in quotations to call
attention to the way I create and use video in
my work. I usually begin with video of events
that occur or are situated in the existing
world; from there, the video gets resized,
overlaid, juxtaposed and/or time-altered
to better fit and address my understanding of
the way things are or could be. The sound
emitted from these pieces provide an aural
counterpoint to the images, providing an
essential layer of information to the thesis
being presented. The sculptures and
environments are the architecture that
carry and protect the images; sometimes
giving them a home, sometimes anchoring
them to an idea or context, and sometimes
acting as reluctant host. While I write
of my work in terms of its components, my
aim is to create complete works whose
elements converge to form comprehensible
statements that evoke open ended questions
and offer lucid glimpses of what is, what
was and what can be.

"All the important things I know about
making art I learned from my grandmother.
In her prime, she could take some found
piece of something (object), almost anything,
think about it for a while and soon
produce an object of beauty that filled
a household need. Though my tools and
aims are different than hers I aspire to
make art that is half as deft and