Making exists only in the now. It arrives and leaves in tandem with its own creation. As soon as it is done being created, it no longer exists. What exists in its place is the made. My recent work puts forward the question of whether the process of making itself can function as the final, referential product, taking the place of the made that art history has conventionally relied upon. I consider my practice an opportunity to experiment with different modes of making in pursuit of a better understanding of what making is and how it exists. My work utilizes a wide range of both traditional and non-traditional materials, methods, and techniques. Whether my work takes the form of an erased action or a projected idea, I am interested in the way a concept manifests and becomes part of a larger discourse. The products of these explorations, be they tangible or ethereal, call into question how making is recorded, interpreted and ultimately understood.