What does it mean when things merge together? Heavily invested in making, my sculptures no longer only represent a fusion, but coax forth a collusion; collapse; conceal; reveal; rupture; resuscitation. When the key turns in the studio door, I become part director, part fabricator, and part weird scientist.
Slip sliding between these roles, I work from a patch-work of signifiers, physical material, and cultural references questioning hierarchies often presumed art history, pop culture, politics and consumerism. While cross-pollinating these points of reference in three dimensions, lush detail and curvilinear form is used to lure one into a state of ‘overflow”. Each angle of my sculptures has a job to do: to pose questions and conclusions while a body turns in space. When this occurs, the viewer becomes essential in the gap between parts, as they collaborate to the production of meaning.
To effectively capture circulation around a sculpture, emotional connectedness is key. Cast referential elements are imbedded into finitely crafted surfaces to get a form that is simultaneously relatable and alien. While figurative sculpture in the 21st century is often considered redundant or obsolete, it fascinates me how we continue to fetishize the human body. Using the figure as a sculptural platform is purposeful, as it allows me to probe into a larger body (cultural, commercial, social, spiritual) while morphing between the statuary and the systemic.