Statement

Floating in the ether of lived experience, I tether myself through phenomenological seeking, reverence for human ancestry, and animistic attunement. My work delights first in the ineffable, then gestates through sense and sensing. There is a giddy tension when the known and unknowable compete for prominence. My sculptural works and immersive installations oscillate between the implied material weight of ceramics and the elusive, untethered presence of indeterminate forms. It is humbling to be reminded that so much lies beyond our empirical grasp and to simply allow ourselves enchantment.

The magnanimous affect of sacred spaces is integral to my research. I seek sublime effect, sometimes through balance and harmony, sometimes through awe or gravity. In my work, I investigate the body’s proprioceptive mechanisms; in particular, how our bodies adjust next to unfamiliar forms in our environment with the potential to subtly alter our corporeal awareness.

My forms emerge from historical artifacts, unidentifiable fragments, weathered surfaces, and evidence of the before-us humans. Examples include ancient grinding stones, loom weights, stone arches, rain gutters, and architectural fragments. Anthropological sources provide a place of empathy with past humans and a way to understand my own humanity more thoroughly. The resulting sculptures are not meant to allude to any specific origin or culture, but rather remain anonymous and elusive.

I embrace an experimental, alchemical approach to melting raw ceramic materials into my sculptures, such as glass frits, metallic oxides, plaster, and minerals. I push the boundaries between glaze, clay, and how a ceramic object should be “finished”. Through my material combinations, I achieve haptic qualities that feel familiar, yet mysterious and unplaceable. My fascination with materials and transformative substances reflects a concern for my own materiality.

Floating between particular objects and ambiguously referential forms, I embrace the nondescript. This open space of animistic sensing holds more potentials than the concrete boundaries of knowing. I find mystery to be one of the most compelling emotions, and I try to arrive at a sense instead of a certainty in my work. I hope to grasp how the intangible and empirical can exist in the same space, giving respect and credence to each other, while still maintaining their autonomy.    

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