The sculptures in Restless Leg probe matters of truth. A number of the objects were made by adhering layer upon layer of paper or other materials, sanding the topography smooth, and ultimately slicing vertically through the composite – to reveal what looks like a cross-sectional view of geological strata or muscle tissue. The United States in 2019 seems to be suffering from profound perceptual confusion between surface and depth. I want to question the presumption that interiority aligns with truth – that revealing what's inside provides “evidence” of what’s “actual.”
The sculptures also imagine how waste might attain the kind of structural integrity that humans have so far sourced mostly from the natural world. Some of them resemble compacted trash, futuristic tissues or Anthropocene geodes. They suggest that distinctions between food, flesh, garbage and poop may be blurring, as plastic infiltrates everything, and that nourishment might be found in the things we may be in the habit of throwing away.