Statement

When a material undergoes a state change the resulting visual can evoke sympathy. A dramatic visual representation of state change therefore connotes metaphorical state change.

Through my sculptures, I long to evoke and unpack this sympathetic visual relationship with depictions of objects in states of flux. Melting, freezing and evaporating, unlike decay, can be reversed. As such, they provide an apt metaphor for trauma.

I have a strong interest in visual metaphors and how these can affect an emotional response to an object. Similarly, I am interested in methods of display. Often, I will begin by creating an object in an ambiguous state or state of flux. The display object supporting the object can impart an additional visual state change. Often I use materials and processes traditional to museum mount making for creating these objects, including welding and forging metal.

However, the resulting structures appear “off” or curious in some way through distorted size/shape or questionable effectiveness. The very methods I use to create these mounts for my work relate quite literally to state change, as welding processes and forging both see the metal instate of flux.

I am also interested in state change imparted by the maker. For example, when a soft fabric object is depicted in stone, what are the resulting connotations? I find myself attracted to stone carving, both for the slow meditation on an object required and the connotations of memorializing, or capturing a moment or thing at one point in time. Through starve carving I intend to create a memorial snapshot of these objects in their states of flux, as they float ambiguously above or sink down into their display objects.

Through my practice I explore the often ineffable experience of trauma though the visual

metaphor used to speak about it. I am intensely interested in the common practice of defaulting

to simile and metaphor when discussing the personal experience of being. I find it troubling that

there are experiences where words cannot suffice. As a result, I find myself clinging to the

words we use when we must speak about something, although we are not sure how. My

sculptures often consist of a dismantled metaphor, creating a parallel between the human

experience and the relationships between hard and soft materials.

Using carved stone, I am able to create a precious-seeming object which receives projected

sympathy from the audience. When compared to the soft fabric sculptures alongside them,

strangled by metal rings, the weight and durability of the stone work is emphasized. By carving

a representation of an object, I memorialize it in its current form, creating a reverent snapshot of

an object in its time of trauma.

I tend to work with sculpture in two modes: the display object and the displayed object. Most of

my sculptures can be broken down into these two elements. My work examines these

relationships by changing materiality, leaving the displayed object seeming either crushed and

suffocated, or protected and cradled by its display mechanism. The supporting structures I

create force their objects into an ambiguous state of flux.