In all that I do, I aim to create a greater sense of awareness and heightened consciousness in myself and those around me. My practice combines performance, sculpture and abstract painting into conceptual installations that illuminate spiritual experiences I’ve encountered as a practitioner of meditation, yoga, and qi gong. It’s my hope that people who encounter my work will have transformative experiences. 

Artist Statement

As a sculptor whose practice is built upon paradox, my work addresses how human perception and societal expectations are often in conflict with each other. I utilize reframing to challenge what we think we understand, and ask viewers to investigate realities outside of their learned ways of seeing. I select materials that vibrate with both harmony and discord to convey the interior friction that arises when one is tasked with altering a preconceived notion.

After I pull metal and other materials from salvage yards, I sit with them in a formal dialogue. I have to understand their physical stance before I can comprehend their presence conceptually. In time, the objects’ stories reveal themselves to me. From there, I can begin to transition the material away from its previous circumstances and reposition its atomic particles (literally, and metaphorically) such that their compositions may be perceived differently and thus newly defined. 

The “paint skins” that I pour--once dried--also become structural components with breadth, width, depth, and three-dimensional surface area. When joined with another material (metal, marble, glass), the reciprocity of the skin and the object make the two surfaces nearly indivisible, and at times, indistinguishable. This resulting optical illusion refers back to the fundamental behavior of atoms, in which their context informs their presentation. The materials, when in intimate dialogue, merge. This is when I achieve ambiguity (when the distinct materials I use are confused for one another), disrupting human certainty and making room for reevaluation.

By employing a call-and-response between the visible histories of these objects and the intrigue of the skins, I allow the materials to comment on each other. I seek to uncomplicate the decision--the gesture--and reveal truths. That’s where the dadaist influence peeks through; with found objects, I’m able to divert “ready made” notions and alter objects’ existences with a simple decision. Embodying the cultural moment, and being a conduit to its pulses, I ultimately hope to capture the critical role that each individual’s contribution plays in affecting the whole.