I combine assorted materials, such as animal bones, seashells, fibers, resin, and metals, to produce abstract sculptures through industrial and experimental processes. 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 influence their final freestanding compositions.
I appropriate the ideas of elevation, dynamism, motion, and drama found in classism, particularly of the Baroque sculpture. In this notion, I bring and imbue an illusion with objects in which forms to flow fluidly and the traditional artistry holds my hope of capturing the movement in frozen instant. I also attempt to distinguish the artifact itself as a direct continuation of life cycle events composed of raw and natural materials over time. In doing so, I lay bare my Animistic world view apparent and show that when we make use of the raw materials available around us, we do not change the very nature from which they are spun: only their external qualities.
I try to merge these two seemingly opposite approaches by reconciling with both anthropocentrism to desire the materials eternity and their weathering. My sculpture appears to be in arrested states of rebirth. Such transformations are like a “reverse entropy,” suggesting a process of coming into being, rather than lapsing into decay.