I work with many materials, but the crux of my work is the medium of language as a sonic phenomenon. I make performances, physical sculptures, photographs and other objects, in many media, using the sonic property of rhyme to decide on both medium and word choice. My visual art objects rhyme with the materials with which they are made. For example, Bass, 2002, is cast in brass. Sea and Coast, 2004, is a photo landscape made with tea and toast. My goal in each instance is to create strange objects that will involve the viewer in an unfolding of a fictional narrative that the objects both tell and document. Working with a rhyme-based process has allowed me to develop an elastic method of storytelling, in which the traditional order of narrative is both acknowledged and upended by self-imposed restraints. Mistaken comprehension functions as a crux of meaning within my work – the pieces in an exhibition, and the words in a performance, form a web of potential meanings (and falsenesses). People do not often go into a gallery asking themselves what rhymes with the materials they see. The absurdity of using sound to make visual art appeals to my sense of mischief. By using rhyme to create narrative visual installations and performances, I aim to confront and exploit assumptions about how individuals understand or think they understand art through various narratives about art.