A collection of recent sculptures that investigate the connotative language of materiality paired with traditional craft processes. The works appear soft and pliable, yet they are hardened and permanent objects in space. This perceived softness relates to the flesh of the body in order to connect with our innate humanness and the malleable perception of our memories. The use of materials such as wood and concrete creates a physical and psychological intimacy around a space that is associated with home, structure and shelter. The making process involves a conscious act of piecemeal construction; building as needed to conceal or support the centralized ceramic form. 

This series of ceramic and mixed media sculptures navigate how spaces, places, and objects can be repositories for memories. How, in particular, domestic objects and spaces can elicit a particular feeling or state of mind from long ago. Their fixed state serves as a means to document a single instance of a recalled event, to create a calcified moment of the past. Through various ambivalent postures, props, and subtle comparisons, the forms evoke a curiosity, a desire to empathize with their conflicting state. 2015-2016.

Various watercolor and ink drawings. 2018-present.

Drawing and sketching have always been integral parts of my practice. Almost all of my sculptures start with a sketch or two, but I also make small drawings independently from my three-dimensional work.  The imagery and subject matter between them is often similar, but with enough subtle differences to allow for a progression of ideas—almost a conversation—between the two- and three- dimensional pieces. 
 
I’ve always felt that my drawings allow me to defy gravity and entertain impossibilities in construction that I wouldn’t be able to physically build in my sculptures. Sometimes a drawing may morph into an idea for a sculpture, but often they are more freeing and not tied to the physics of reality.

These pieces were made to explore underglaze pencil drawings on porcelain forms.