I combine assorted materials, such as animal bones, seashells, fibers, resin, and metals through industrial and experimental processes. Acknowledging that all matter ultimately returns to the earth, I often suspend component parts from the ceiling before affixing them together, allowing gravity and balance to influence their final freestanding compositions.
I appropriate the ideas of freestanding elevation, dynamism, motion, and drama found in classism, particularly of the Baroque sculpture. In this notion, I bring and imbue an illusion with objects in which forms to flow fluidly and the traditional artistry holds my hope of capturing the movement in frozen instant. I also attempt to distinguish the artifact itself as a direct continuation of life cycle events composed of raw and natural materials. In doing so, I lay bare my Animistic world view apparent and show that when we make use of the raw materials available around us, we do not change the very nature from which they are spun: only their external qualities.
By referencing above art history and culture, I reconcile my anthropocentric desire to create eternity with the material’s weathering to carry inherent demise over time. And I try these two seemingly opposite approaches to coexist in my work. Such transformations are like a “reverse entropy,” suggesting a process of coming into being, rather than lapsing into decay.