My creative practice involves taking on diverse roles that permeate the walls of my studio, such as such as private detective, archivist, magazine staffer, factory worker, oral historian, film director, or sound engineer. To better make the conceptual connections across these contexts and different media legible to both myself and to others who become involved with my work as co-producers and/or viewers, I have created an umbrella organization for the various strands of my practice, The Institute for Clew Studies (ICS). Depending on the needs of my projects in process at any given time, ICS consists of interconnected divisions in different stages of development: archive, research facility, detective agency, time machine, meta-office. Across these assorted articulations of ICS is a shared focus on granular history — the snippets, smidgens, and scraps of evanescent history that escape expected chronicles, fall through the cracks of remembrance, or become untethered to their origins.
The artistic process generally involves three stages: research, creative production, and public presentation. I mine historical archives or research a topic for forgotten stories, arbitrary connections, or orphaned ephemera that evidence poignant moments. Using the research material as prompts, I creatively contextualize the information in artworks (installations, performances, conversations, texts, drawings, video, lectures, objects) that occupy various points along a continuum between fact and interpretation. Acting as a representative of ICS, I share the work and the mission of ICS in some sort of public, interactive, or collaborative way. Past presentations include lectures, public residencies of the ICS office, an ICS “infomercial,” exhibitions, zines, and a website.