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I have been taking impressions of pills and creating a pill archive where pills are cast in silver and/or gold since 1995. At that time I was given pills as an answer to something that proved to be much more elusive than any pill might conquer. At the same time I knew many other women who had started taking these SSRI pills. Knowing about the symbolic history of jewellery and its foremeost position in the list of things "girls" supposedly want, caused me to be horrified by marketing that allows how one might with jewellery conquer a "girl".

In response to this and as an echo of the ongoing subjugation based on gender a way to point out the depression and humiliation that comes from it; a psychotropic pill worn around the neck or wrist here stands as a symbol of defiance in the face of subjugation.

But here I am also using jewellery as a vehicle for liberation for anybody because by wearing your medication as some have done it means it is no longer as big of a secret. Taking pills is still one of the most taboo subjects for humans who feel shame for being less than healthy. If we must augment ourselves somehow with pills we are vulnerable and everybody is terrified of that.

Hyperobjects are objects that contain systems humans do not control. We must exist within these objects that we impact and they in turn influence our being. Large cities are hyperobjects and so are weather systems and other "forces of the cosmos". The Earth's electromagnetic field is a hyperobject. Consciousness is a hyperobject; an object clearly made up of rules and systems many of which humans have not even yet discovered and over which we can exert little control. Making sculpture that can begin to grapple with this kind of enormity is my challenge. Finding ways to infer the vast expanse of the cosmos within a scale that is approachable by humans is the quest.

My interest in hyperobjects was inspired by an interest in consciousness and the way it is generated in the brain.

Recent research has led neuroscientists to the discovery of grid cells in the brain occurring in the Hippocampus and Entorhinal Cortex region. These cells are firing in patterns that mimic the pattern of the space we are in to allow us to navigate within our surroundings. The grids pictured here are attempts to imagine a physical form for those cells.

I start the wind map drawings pictured here by indexing the initial parameters from a real map. The first lines of the drawing are taken from the live mapped animation of the earths winds found at: http://earth.nullschool.net/

The drawing progresses using those initial parameters as a kind of code generating the abstraction that results. This is an ongoing series using this map as an anchor. It uses the earth's winds as a way to infer the larger forces at work in the cosmos.

I am using form to try to elucidate objects and systems that are invisible to the naked eye but are nonetheless there and have huge influences on our lives.

In making the work I am becoming accustomed to using various fluid sets of rules to set up a situation whereby I can complete the work's form in a way that enables production to flow. This is an attempt to link agency with a catalyzing vitality as a method of material enactment. The sort of formal organization that ensues is a result of negotiating with potential. It is a process of unfolding where variance from a norm causes the intricate characteristics of the form.

I see this as a performative version of abstraction whereby I set up rules for the completion of a structure (the form) and proceed with the chosen media (welding, pen and paper) allowing the process to flow and determine its own form. The end is a direct result of this simple process in time.