Artist Statement:
My practice begins with a need to construct perspective. Making art is not a neutral choice but an urgency, a way to think through conditions that otherwise remain unarticulated. Humor and satire are central to this process, allowing me to approach familiar systems from oblique angles and reveal contradictions within structures of labor, family, and social expectation.
I work across sculpture, drawing, and installation, using materials such as metal, marble, wood, soap, graphite, and more recently elastic. Each material acts as a distinct mode of thinking. Metal and stone convey weight, resistance, and permanence, while elastic brings stretch, tension, and return. Rather than treating these qualities as opposites, I use them to construct relationships between stability and adaptability.
My recent work develops from the introduction of elastic sourced from my father’s manufacturing context. Studying its production process and behavior under stress shifted my practice from object making toward systems built through tension, suspension, and load. This approach is reflected in works such as Inside the Comfort Zone, where a web of elastic strips holds a chair between support and confinement, and Father’s Nest, made from layered waste elastic that evokes care and limitation. A reconstructed tractor tire extends this exploration of labor and transformation, turning an industrial form into a flexible, memory-bearing structure.
Alongside these elastic works, I continue to create sculptures in metal that depend on compression and fixed form. The contrast between these material conditions forms the core of my practice. Elastic asks for change and adjustment, while metal resists it. Together they create a dialogue between movement and solidity, fluidity and endurance.
Expanding into site specific installations allows these relationships to operate at the scale of architecture. At this level, material behavior connects directly with the viewer’s body and the forces of gravity, balance, and light. The physical experience of tension and suspension becomes perceptible, transforming sculptural ideas into spatial conditions.
Through this process, sculpture becomes a way of organizing forces rather than representing forms. My work does not aim to resolve meaning but to construct situations where balance, instability, and adaptation remain in continuous negotiation.
