"VITRINATIONS" originated out of this idea of sacred spaces—places where the proverbial gap between heaven and earth is nearly flush, where the divine seems to occupy the terrestrial. For this body of work, this interest has manifested itself in the shape of a vitrine, a clear acrylic box used to enclose art. I don’t see the spaces that these enclosures occupy as inherently “sacred,” but rather sacred as a result of a declaration—an intentional staking out of place.
The work is an exploration into how the divine manifests itself in our daily lives, in our daily spaces. The performative nature of the work intrigues me—the spaces exhibited are thoughtful and familiar, and each space has something different to say to the enclosure, and as a result something different to say to the camera. This diversity of conversation excites me.
I want to challenge how we look at objects, and how an object’s form and function changes in relation to its context. A vitrine is not for looking at, but rather for looking through, yet that is only because museums have declared that to be the case. What happens when the device that encases the art object suddenly becomes the art object itself? These “vitrinations” are an exploration into that question—seeking windows into a world that sometimes finds itself flush with ours, quiet and humble, glimmering in silence and in strength.