In an effort to skirt the rising cost of lumber, I pulled a used theatre set from the trash. When I stripped the painted plywood sheathing from the frame, I was immediately stopped by the caulking marks that were underneath. The marks were dynamic to the point of urgency, yet there was an undeniable order throughout all of them. I imagine the order was derived from a task- stick this one thing to this other thing and do it quick. As I looked at them, I couldn’t help but recall my own handwriting racing to write and pass notes without drawing the attention of a prying teacher. In other words the marks shared the qualities of a language not meant to be seen. 

In New Runes (2024) I approach these marks with intrigue, like an archeologist dusting off an artifact, and work to recontextualize their significance through craft and medium. Across the entire series I limit my formal palette and work instead in patterns and motifs to expand how each mark may influence each other. In other words I am creating a language of sculpture and tiles where the meaning is a loose secret but the syntax is undeniable.