A dark shadow lays across the suburban landscape. Creeping in from the undeveloped wilds that rim the gated communities and strip malls this bleak ichor seeps in through basement windows
and the gap under the back door, coming in to unsuspecting houses, laying claim to all it touches. Children living in this privileged environment come to feel alienated from their surroundings. This land of milk and honey feels wrong, haunted by some unnameable menace.

Being a play on Mike Kelley's essay Urban Gothic, Suburban Gothic is a poetical exploration of youthful melancholia and thanatos. While Kelley's text focuses on the urban industrial environment which gave rise to the punk and goth subcultures of the late seventies and eighties, Suburban Gothic uses as its basis punk and goth's antecedents nu-metal and third-wave emo which took hold primarily in the post-industrial landscape of America's suburbs in the late nineties/early two thousands, a time at which the United States was experiencing expansive economic stability and expansion. Despite or perhaps because of this heretofore unseen level of prosperity, this period simultaneously saw an excessive out pour of anger and violence amongst its adolescent population, the effects of which have still not been resolved to this day.

The work in Suburban Gothic is a phantasmagoric rather than literal exploration of this time period, focused less on an exploration on the signs and signifiers of then and more upon creating a circumstance which may cull up certain sensations within the viewer.