My work has been described as ‘catholic minimalism’- a combination of minimal frugality and temporal composure, supported by an intricate multi-pronged metal and wooden armature made from constructed ‘artifacts’. Accumulations and studio excretions are pinned to wooden and metal rigging parallel to the wall. A hobbled geometry is my unifying tool to knit formal composition and historical, social and personal stories together. The armature is large–scaled, resilient, sometimes room sized, and mostly self-supporting with unwieldy wobbly geometries fashioned from bits of cut offs, rims, wood, and often dirt from the archeology of my studio floor. These ‘ trawled bits’ are carefully crafted together with hand hewn joints, some with the cradling technique that I borrow from the backs of byzantine icon paintings and boat building, or pinned with hand made porcelain pins lustered with gold and platinum. The pins act as both scattered gilded frame and the actual building and structure of the piece. I want the heroic, the grandiose and frugal collections to co-exist as awkward bedfellows on multiple planes, a minimal veneer resting uneasily on a solidified history of making. Each composite part is small, intricate, precise, often highly crafted or painted and holds the record of its making as part of its form and subject matter. It is efficient to transport, as I want to create an epic ‘history’ painting out of a collision of small gestures that are portable in suitcases. It will be constructed and flushed out on site much in the same fashion as the provisional vendors stand can spread his wares in a flea market.