I make adjustments to quotidian objects to create large-scale installations that evoke the uncanny. My work begins with an object of fascination, such as books or beds, and then uses various forms (such as photography, video, installation and performance) to build off-kilter environments. Often I create an installation, photograph someone in the setting, and then activate the space with a performance or use it as the set to make a video. In this way, my process is iterative and integrates many media. My recent “Fertility Bed” installations unravel the assumption that women want to be mothers. In response to the tradition of throwing rice at newlyweds, one bed and was filled with 200 pounds of rice. Another was swaddled in a set of sheets made of pages from books on the psychoanalysis of motherhood, dating advice and erotica. Both installations were available for visitors to lie down or sleep in, and, as with much of my work, was an invitation for audience to become acquainted with the realm of the sensorial. At the heart of my work is a concern for creating feeling of intimacy between the audience and artist. Often this is achieved through tactile experience, though at times this entails exposing myself (literally or metaphorically) to the viewer, or creating situations for viewers to become vulnerable with one another. I am focused on gathering the traces and residue of touch, gathering the poetic imprints of experience. My work often relies on the symbiosis between words and images and thus these imprints are visual and textual. Text is simultaneously full of meaning and emptied of it as it is activated as a tactile and material form. My work uses the seduction of beauty to probe at darker issues: assumptions about women, femininity, motherhood.