My artistic inquiries can be traced back to the military bases that I called home throughout my childhood.  Initially, it was my teenage years spent in Okinawa, Japan, during a period of large anti-base protests, which invited critical reflection.  As my family's time in any place was temporary, by the nature of military deployment, home was always transient.  This sense of displacement and the presence of military culture in the everyday environment comprise the generative experiences on which I continue to draw.  I have sought to complicate these experiences by playing with the ways they collide and collude.  Foucault’s notions of relational power and his description of power symbolically inscribed on the bodies of military personnel have constituted just one important piece of scaffolding in the project to synthesize my artistic and conceptual concerns.
            In early 2006, with a Major Artist Grant award from the Iowa Arts Council, I completed an installation entitled “Projection/Inscription: Digital Camo”.  In this installation I projected videos onto suspended sheets of treated paper evocative of digital camouflage’s pixelated patterning.  The videos featured my mother’s uniformed and civilian body, schematics of literally militarized bodies, and my performance of scenes from the film “Top Gun”.  Since this project, which interwove the lenses of personal experience, pop culture, and critical theory, my strategy for playing with and complicating meaning surrounding the military has broadened the work to approach issues of contemporary space, power, the body, masculinity and seduction.
            A long time investment in leftist/radical politics and my background on bases initiated an interest in issues of occupation, an interest broadened further again by Foucault, as well as Edward Said, Norman Finkelstein, Eyal Weizman, and The Critical Art Ensemble.  These thinkers have put forward numerous spatial concepts of power, such as “imaginative geography”, “verticality”, and “nomadic power”, which have greatly influenced my personal vocabulary for dealing with contemporary space as complex, layered, and fluid.  My work, however, does not serve as illustration of theory, nor does it serve as topical commentary.  On the contrary, these works are relational and dialogic so as not to reduce them to political utility.  Similarly, my use of iconic pop imagery such as “Top Gun” or my use images of military aircraft serve to acknowledge a tension between the seductiveness of these images and a critical awareness of their dangers as representations.