I have an intimate fascination with materiality and form. My studio practice includes a mixture of sculpture, installation, ceramics, drawing and photography. My intuitive creative process uses an economy of material; discarded urban, textile and natural waste found in the surrounding areas of Los Angeles.
Incomplete urban construction sites and abandoned household items, accumulated on the roadside, inspire me, as what is unseen or unfinished is often more intriguing to me than when it is complete or intact. To me, the “unfinished” and discarded is worthy of recognition and deliberation. Its position is equal in beauty and meaning in its present condition. I feel compelled to discover the potential in everything, but especially those objects which have been passed over or discounted as worthless. As a result, I feel the urge to collect disparate, found everyday objects that “call to me.” These materials transmit emissions as if they are living, embedded with life energy, memory and a history of their own.
I metabolize these ordinary materials , combine and and transform them into aggregate beings. These newly compiled material systems emit a different and transformed consciousness. The inanimate becomes animate.
I am not only repurposing and reconfiguring materials, but exploring the meaning of material itself: its appearance of entropy, temporality and its ephemerality. The delicate quality and makeshift building of my aggregate masses are created with an emphasis on informality. My hope is that the decomposition of these masses over time will remind us of our own impermanence.
To assemble my work I use methods as diverse as mold-making, piling, wrapping, balancing, stacking, bashing, compressing, suffocating, tearing and unraveling. I employ a combination of hybrid handmade processes so the work will appear to be in a state of in-betweens—finished and incomplete; sophisticated and primitive; ugly and beautiful; unique and familiar.