The current iteration of my practice consists of intentional, daily, creative output.
It began in 2021 and is ongoing.
(I began this work during a time of pronounced change: early parenthood; pandemic uncertainty; moving to a new city, etc. In the midst of this newness and uncertainty I longed to reconnect with creative making but the time I could commit to this work was extremely limited. In lieu of long hours in the studio, I decided to undertake a project of daily practice.)
Each year, I establish new parameters within which to work. Each day, I make something.
(Some days I write; other days I draw, photograph, or record sound. Each day’s work is modest, but over time, it accumulates and coheres into something more substantial.)
Repetition, discipline, accumulation, and observation ground this project. As a whole, it explores the tensions between the ordinary and extraordinary, the mundane and transformative, the boring and exhilarating, the everyday and the wonderous. Just as my research prods the topic of everyday life, my creative practice functions as a meditation on this paradox.
This project is one of documentation and reflection: at once a way of archiving my existence and acknowledging the relentless passage of time. As such, it owes a debt to On Kawara, Mary Kelly, Gillian Wearing, Nan Goldin, and many others I am still learning about.
