Through metal and enamel, wood and greasepaint, flocking, bits of hair, magic, I construct forms that think alongside me - I make puppets, hoping to make storytellers. These constructed forms are meant to be held, activated, and regarded as presences rather than static artifacts. 

Puppets are more than instruments or object, like dolls and statues.  They become archetypal and can begin to exert influences of their own. A puppet's unique attributes and personality change our perception of them and results in objects that allow for agency and life. They become more by exerting influence of their own as though they contain a commanding spirit.  I am drawn to haunted objects: forms that suggest interiority, resistance, or will. This interest is shaped by the occult’s attention to unseen forces and by orders of perception, which insists that all participants in a system - including the observer - shape what emerges. 

Narrative enters through perception and activation rather than linear storytelling. Puppets hold the potential for story without rigid framework, their futures speculative. Meaning completes itself through handling, projection, and attention. The viewer is not interpreting at a distance but participating in bringing the work into being. Suspended between object and actor, puppets complicate authorship. At rest they imply latent life; in use their agency becomes distributed between handler and form. Intention no longer resides in a single body. Instead it circulates; emerging through touch, resistance, and shared control. 

These puppets, my friends, function as companions in acts of imagining. They mirror internal states while also interrupting them. They respond, redirect, and suggest that what we make is never entirely still, and never entirely ours.