My engagement with the environment has evolved over time. I first started working three-dimensionally after moving to New York City. The urban environment felt like a place where one had to make an effort to engage with nature, and I felt the need to draw it out and create a visible connection. After a few years of working abstractly, and in the midst of non-action on the part of the federal government, I decided to move my practice into a more active role, taking on a variety of environmental and social issues. I see the two as being deeply intertwined. The goal of the work now is to take issues and solutions to as wide an audience as possible, and to create interactions which allow participants to connect with the urban environment in a variety of experiential ways.
Both my background as an artist and as a student of architecture continue to inform my work. I try to think creatively about the use of space, both public and private, and how that space might be used to connect people, places and things. My training taught me to look at what is there and what is in between (the void), and how each of those types of spaces can be used to influence movement, emotions and actions. The artist in me seeks visually and conceptually interesting methods of achieving environmental and social action. I continue to esteem the aesthetics of a work while considering the simplest means to an end. Most of the projects are measured by the number of people directly participating in the project. At the same time, I like the domino effect the projects may have: one person might change their attitude or approach to their urban environment through direct participation, which in turn may affect a second person witnessing to take action. I could apply metrics but feel that the emotional impact is a greater and more abstract measure. The emotional connection is what will effect the greatest long-term impact.