Statement

My work blends fragments of disparate unwanted things into fluid sculptures that reflect on transformation and growth, as well as conflicting desires for connection and protection.

The work emerges from a swirling soup of objects, surfaces, and textures that we encounter and subconsciously integrate into our daily experiences. I “rescue” once-sentimental things like holiday ornaments, china sets, stuffed animals, handmade afghans and well-worn sweaters from curbside "free" piles, thrift stores, or from bags of random stuff foisted from a friend's decluttering. These newly downgraded items are deconstructed and manipulated, and then grafted and entwined with functional and banal things like toothpicks, buttons, sponges, plant stands, and lamp fixtures.

I intuitively converge contrasting material languages - synthetic and organic, antique and mass-produced, shiny and dull, precious and disposable, plush and jagged -into painterly maximalist sculptures that are densely layered, often entangled, and teeming with new life. Some resemble fantastical versions of botanical ecosystems and others are reminiscent of microscopic toxins we unknowingly breathe. Like many ideologies we absorb and inherit— they are often unseen, or acknowledged, yet shape us and help determine our outcome all the same.

At times, sculptural forms incorporate furniture and domestic architectural fragments, to make hybrid structures that resemble watchtowers, altars, or makeshift shrines. These constructions suggest the quiet but persistent power dynamics embedded in domestic space and cultural memory as well as point to the home as a formative and sacred place.