By working between materials, languages, and histories, I explore issues of identity, place, personal and collective memory in the digital age. Growing up in the small rural community of Canaan, Kings County, Nova Scotia during the early nineteen nineties had a significant impact on me. Spending my formative years in this secluded landscape afforded me a view of the tensions between the seemingly inclusive nature of the digital revolution in a place where its impact was negated by the isolation of our small community. These conditions were the impetus for my interest in the tension between the digital and the arcane, including my methodical and austere approach to art making.

My approach to creation stems from interactions within landscape and interests in the failure of attempted documentation of memory. Artists such as Richard Long lent me an understanding of my own presence within the landscape, leading to walking as practice entering into my work. This appearance re-connected me with the Situationists’ theory of the Dérive as a conceptual lens I could repurpose for viewing subtlety in the everyday space or within memory. Objects tied to a record of their own history and creation are explored through my work Drift, a series of intimate wood works incorporating various ephemera and binary structures, I question the role of the historic object in a world defined by binary machine languages.