ABOUT
Born in New Orleans, my sculptures are manifestations of early life experiences and reflections or adaptations of those memories as an adult. New Orleans is not a literal theme in my work but my core concepts were formed and influenced in it’s environment.
WORK
Tactability is my word to characterize the mental and physical sense of touch. The desire or avoidance to investigate through touch is based on memories and emotions. I want to bring the intuitive understanding of materials into a realm that is imaginary. Psychology, perception of reality, and the visual grammar of materials are three conceptual themes that reoccur in my work.
The uncanny nature of science fiction is an inspiration from childhood and is often reflected in my sculptures. Corporeal specimens creating bizarre landscapes. What I find intriguing about the science fiction genre is that it depicts an imaginary world, but uses elements of reality to manufacture plausible scenarios. For a moment I can suspend disbelief and physically react to very real emotions. I combined this interest with my love for movie musicals of the 50’s and 60’s. The “over the top” drama, comedy and the absurdity of singing in dreamlike sets, for me as an adult, is a valid depiction of an alternate reality. Its familiar, but very far from what we experience. Their world is visually and emotionally simplified but intriguing in its abstraction. The more surreal moments in these films occur when there is a shorten depth of field. We usually see this in depictions of dreams, where most visual cues fade out and we are left with a broad and ambiguous set. In this distorted and simplified visual world the film opens and our own interpretations are allowed to enhance the experience. I am intrigued by this combination of the three dimensional foreground and the two dimensional background and I therefore often use existing walls and architecture as stage collaborators.
Included in most of my work is the underlying theme of dualism. Whether it is the pairing of two forms or the combination of two contradicting feelings. We often combine dark emotions with surprisingly light and comical ways in which to express them. I create narratives while making my sculptures but I am only using a visual grammar, and this can be read from many different perspectives while maintaining an underlining glow of intent. My shapes and forms are intentionally awkward. I am investigating the balance between discomfort and beauty. We project onto things that don’t make sense in order for them to fit into our realities and this natural tendency creates a specific sensory space.
Born in New Orleans, my sculptures are manifestations of early life experiences and reflections or adaptations of those memories as an adult. New Orleans is not a literal theme in my work but my core concepts were formed and influenced in it’s environment.
WORK
Tactability is my word to characterize the mental and physical sense of touch. The desire or avoidance to investigate through touch is based on memories and emotions. I want to bring the intuitive understanding of materials into a realm that is imaginary. Psychology, perception of reality, and the visual grammar of materials are three conceptual themes that reoccur in my work.
The uncanny nature of science fiction is an inspiration from childhood and is often reflected in my sculptures. Corporeal specimens creating bizarre landscapes. What I find intriguing about the science fiction genre is that it depicts an imaginary world, but uses elements of reality to manufacture plausible scenarios. For a moment I can suspend disbelief and physically react to very real emotions. I combined this interest with my love for movie musicals of the 50’s and 60’s. The “over the top” drama, comedy and the absurdity of singing in dreamlike sets, for me as an adult, is a valid depiction of an alternate reality. Its familiar, but very far from what we experience. Their world is visually and emotionally simplified but intriguing in its abstraction. The more surreal moments in these films occur when there is a shorten depth of field. We usually see this in depictions of dreams, where most visual cues fade out and we are left with a broad and ambiguous set. In this distorted and simplified visual world the film opens and our own interpretations are allowed to enhance the experience. I am intrigued by this combination of the three dimensional foreground and the two dimensional background and I therefore often use existing walls and architecture as stage collaborators.
Included in most of my work is the underlying theme of dualism. Whether it is the pairing of two forms or the combination of two contradicting feelings. We often combine dark emotions with surprisingly light and comical ways in which to express them. I create narratives while making my sculptures but I am only using a visual grammar, and this can be read from many different perspectives while maintaining an underlining glow of intent. My shapes and forms are intentionally awkward. I am investigating the balance between discomfort and beauty. We project onto things that don’t make sense in order for them to fit into our realities and this natural tendency creates a specific sensory space.
