About

While the human body is not always directly represented in my work, it is one of my main sources of inspiration. I am fascinated by its capacity for gesture, plethora of history, underlying logic, and our ability to read expression from it. The body, as everything else in the world, has a certain structure and set of rules that create it. Posture and the condition of a given body is the result of the circumstances it faces, and so the particular state or condition something is in can tell something about its history or even inclinations. A predator may have sharp claws or teeth and forward-looking eyes, whereas an herbivore such as a deer may have blunter teeth and eyes on the sides of its head. There are levels of familiarity and understanding in forms related to the body, which can lead to a certain emotional response in a viewer, such as sympathy or even attraction in reaction to the gesture or condition of an image. The body’s sensuous tactility can be captivating even when found outside the human body, such as in a well-sculpted car, motorcycle, or chair. These sensations of seduction and sympathy are expressions I often strive to evoke within a work.

In reading through Rodin’s writings about cathedrals and their sculptures I stumbled upon an idea about weakness and beauty. He wrote about the weakness of certain shadows as being something to avoid when carving as they don’t captivate the eye and are not beautiful, and furthermore, that one must be perverse to see beauty in weakness. This got me wanting to create something so soft, vulnerable, gentle, weak, and fragile, yet simultaneously captivatingly beautiful.

Paying close attention to the various physical qualities of an object, such as gesture, weight, and line, I seek to manipulate materials to create forms that exhibit their own unique character and apparently inherent nature. Often starting with objects, situations, or sensations from life, I aim to imbue their essential qualities into physical forms that, although are newly fabricated and formed objects, have a sense of being natural or intrinsic – familiar yet curious. I am interested in how physical forms and surfaces prompt the viewer to recall images and ideas. Through multiple objects or elements, each with their own stock of images, the work serves as a means for making new connections and allowing each element to be considered under a new lens.