I approach the studio as research space to render objects and image through observation, experimentation, and haptic intuition. Through this process I am surveying the Artifact as an object format with visual meaning that is amplified by the alteration of materiality, accretion of personal histories, cultural and historical perceptions, and the articulation of display.
I use haptic materials like ceramic because they are uniquely responsive, allowing them to be formed with nuance from an accurate depiction to an expressive interpretation. This ability to create diverse visual qualities in tandem allows control of the context and cadence of an object or image. The process of material transmutation that is paramount to ceramics is applied as an ideology to my cross disciplinary practice that extends into any material that seems appropriate. Materiality and the process of manipulation are used to emphasize imbued narrative and poetic meaning in representational imagery.
Digital modeling and CNC tools also transmute my role as maker with the removal of hand and a break with the time and physics of real matter. Introducing a touch that lacks the haptic and mirrors the dichotomy of our evolving relationship to nature, technology, and history.
Organizing my sculptures through display strategies that echo the still life, collection, or staged set places them in the context of story, poem, or essay. Forming relationships between objects with culturally embedded meanings that have been accentuated through heightened materiality.
The intent being to access an expansive interpretation through the visual that’s descriptive of complexities inaccessible in linear formats and direct naming. From the process of making in this framework I generate projects in response to lore, artifacts, personal history, and intriguing places to communicate philosophical and theatrical meaning surrounding the human experience.