My practice includes a variety of formulation in my sculpture and installations. By transforming raw materials such as industrial steel, resin, natural fibes, and wood through highly tactile processes that include casting, welding, burning, or oxidizing, I attempt to understand different mediums’ properties, break them down, and then reconstitute them in an organic amalgamation. My work conjure a range of associations, from the human to the zoological, industrial construction to natural growth, representing the artistic production as life-cycle itself. It also translated into a statement of political and ecological configurations to be contrasted with images of our fast-paced modern life.
Inspired by Baroque sculpture, where figures are depicted in motion, I seek to create life-like forms reminiscent of dynamic structures composed of raw elements. In doing so, I hope to lay bare the animism apparent in these natural materials. I also look to Mono-ha artists who, through trial and error, explore organic materials and their unyielding relationships with their surroundings. I strive to merge these seemingly opposing approaches by both rebelliously challenging and humanely embracing the materials with which I work.
Acknowledging that all matter ultimately returns to the earth, I often suspend component parts from the ceiling before affixing them together, allowing gravity and balance to directly influence their final compositions. This is meant neither to defy, nor succumb to, gravity. It is simply an attempt to reconcile with gravity’s force. My forms are based on the physicality of construction, and are not a gesture to express deconstruction. By combining materials and balancing forms, I am motivated to express the potential of tranquility when tension is generated as expressive forces collide. As a result, our eternal desire for freedom is released from the limits of physical boundaries, while, paradoxically, the movement is grounded in a very material gravitational experience.