Why do I have such a strong desire to purchase and consume every time I go out of my home? Why does it feel so good to buy a power drill or a pair of leather boots, an electric toothbrush, some scotch tape, bottled water, or mints in a tin? The questioning of my desire to consume is at the crux of this series.

With the foundation of hang tags, I spotlight a capitalistic symbol. I arrive at the age of consumerism, and a solution, with the Endo (the Zen circle) the nullification of desires through knowledge of the material world's emptiness. Yet, even as the answer is here in this forceful statement, it was not fully accessible. The calm was fleeting. A solution reached for the moment of painting the Endo, a circle with nothing in the middle; but, it seemed, there was never nothing in the middle.

At the core are emotions set into disturbance by the buying/shopping, need/ want experience. Don't know where they're going, don't know where they've been engages a critical discourse about the retail therapy phenomena and compulsions that drive it. The hang tags themselves become a metaphor for attachment. When a person feels isolated, it is easy for this person to seek out attachment to the world through buying and consuming. With every purchase, the consumer connects with countless other people: the persons who produce the item, the sales staff, with other people who own that item, and to people for whom an impression is sought. Another solution is suggested by don't know where they're going, don't know where they've been (you are not alone) through the diamond sutra.

With the works, desire hangs upon me, the artwork becomes a subjective and objective form of desire. These works balance the artwork itself being an object of desire with the idea of desire as the subversive force in the construction of consumerism.