I unmake things. I start with discarded objects and structures and selectively undo the actions and procedures that formed them. I remove staples, screws, bolts, and nails; I ripout stitching, peel apart layers, scrape off grime. Each object requires a different method and sometimes new techniques. My goal is not to strip materials back to a raw state, but to find the poetic place where an object’s material history intersects its lived history, and to open the space necessary for it to shift its direction. This new path grows out of the material’s specific history, connects to its entire lineage, and remains open to changes that will inevitably come in the future. I locate this resonant point in an object through a slow process that requires both physical and metaphysical sensitivity. Some of this thinking-heavy work happens while I interact with the material as it is deconstructed and processed. Other types of contemplation and digestion require more time and greater distance. I often live with materials for years before I fully understand exactly what they need. This extended time allows me to form a deeply layered relationship with each object and to accumulate a complex understanding of its history and context. This slowly built underpinning may not be clearly legible in the resulting work, but I find it necessary for a piece to become an inexhaustible thing that continually deepens the longer it is considered.