I think about the world through the process of making. I deal with interaction, both on a social level by exploring the body language of my subjects and by the sensory manipulation of the material itself. Working in both 2D and 3D forms, I have found that a corporal exploration results in new discoveries and the creation of new knowledge.
Sculptural possibilities allow me to play with and transform objects, challenging the common perception linked to that object. I enjoy finding a balance between concept and functionality in my pieces. Building inside or using hinges to literally transfigure an object changes how they are used. Transformative objects require reciprocation from the on-looker to see past a first glance and see the object in a new light. It is interesting to see how far this interaction goes, and how various states of interaction can either elevate or simplify an object’s concept and usefulness.
Using portraiture, I am interested in shining a new light on a subject. Implementing different methods and media to portray the figure can highlight certain feelings. Phenomenologist Maurice Merleau-Ponty explains that a viewers experience is “always a combination of objectivity and subjectivity.”
Portraying a figure’s essence then becomes significant because it gives the viewer something relatable to grasp. To accomplish this I play with different painting mediums to evoke emotion. I try to be conscious of the characteristics of paint. For example, how watercolor as opposed to oil, can emphasize a gestural whimsical quality in a figure. Concepts explored in painting are illustrative and tend to deal with memories, family, and interactions. I am currently intrigued by the mundane and the way people interact and move in everyday life, elevating these moments by painting them. The mundane moments make up so much of our life that it is easy to dismiss as an unimportant passage of time. However, it is the truth telling in the in-between moments that catch my attention. What unfolds after a conversation drops off, when feet and hands stand in line, after a laugh, the “then what”, how a body naturally reacts, its awkwardness, its charisma, its honesty.
Sculptural possibilities allow me to play with and transform objects, challenging the common perception linked to that object. I enjoy finding a balance between concept and functionality in my pieces. Building inside or using hinges to literally transfigure an object changes how they are used. Transformative objects require reciprocation from the on-looker to see past a first glance and see the object in a new light. It is interesting to see how far this interaction goes, and how various states of interaction can either elevate or simplify an object’s concept and usefulness.
Using portraiture, I am interested in shining a new light on a subject. Implementing different methods and media to portray the figure can highlight certain feelings. Phenomenologist Maurice Merleau-Ponty explains that a viewers experience is “always a combination of objectivity and subjectivity.”
Portraying a figure’s essence then becomes significant because it gives the viewer something relatable to grasp. To accomplish this I play with different painting mediums to evoke emotion. I try to be conscious of the characteristics of paint. For example, how watercolor as opposed to oil, can emphasize a gestural whimsical quality in a figure. Concepts explored in painting are illustrative and tend to deal with memories, family, and interactions. I am currently intrigued by the mundane and the way people interact and move in everyday life, elevating these moments by painting them. The mundane moments make up so much of our life that it is easy to dismiss as an unimportant passage of time. However, it is the truth telling in the in-between moments that catch my attention. What unfolds after a conversation drops off, when feet and hands stand in line, after a laugh, the “then what”, how a body naturally reacts, its awkwardness, its charisma, its honesty.
