What does it mean when things merge? Heavily invested in making, my sculptures coax forth a fusion, 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 presumed hierarchies from art history, pop culture, politics and consumerism. The angles of my textiles and sculptures have a job to do: to pose questions and offer conclusions while a body turns in space. When this occurs, the viewer becomes essential in the gap between parts, as they collaborate towards the production of meaning.
To effectively capture circulation around a sculpture, emotional connectedness is key. Cast and sewn elements are embedded into highly 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 cultures continue to upend constructions of the human body. Using the figure as a sculptural platform is purposeful, as it allows me to probe into a larger body (cultural, commercial, political, spiritual) while morphing between the statuary and the systemic.