Throughout human history we have gone forth to map our world: roads and rivers that let us travel, mountains and oceans we needed to cross, minerals and metals that made us wealthy. We invented a matrix of latitudes and longitudes to house our knowledge, our time, ourselves. We went on to map and classify the largest galaxies and the smallest parts of an atom, traveling far beyond the capabilities of our own bodies. Bodies which became a part of a greater continuum of billions upon billions of sub-atomic particles, spanning the universe, destroying the borders between the air we breathe and our lungs, the ground we stand on and our feet.

Within this continuum each border we create becomes a choice in how we see our world. For example, a geopolitical map might create a border between two countries but a map of the water resources might indicate the two areas are part of the same lake system, dependent on the same water supply. The flexibility of view points, afforded by different methods of data organization and their impact on us, is the primary focus of my artistic investigation.

Instead of the lines of longitude and latitude, I choose multiple coordinate axes drawn from a variety of fields (political, social, technological, religious and many more) to construct the boundaries around the subjects of my work. This allows me to present each subject as a system of choices, which I often push to the limit of cohesion. It is at this limit that both my own mapping process and those of the viewers are highlighted. This becomes an entry point into a conversation on how we see our world: where do we locate the borderlines that define our perceptions and when, if at all, do we choose to change their placement?