Sculpture, Installation, Glass



We select, we measure, we order, we map. These actions record surface and distance. Our

experience is a process of relating to a world outside of ourselves, an other. We form Intimacy

with foreign bodies by a colliding of skin. Intimacy, while describing a sense of closeness,

simultaneously reveals the inescapable condition of distance that is the boundary of one’s own

skin. To be human is to be consumed with desire to overcome this distance.


I spent many afternoons, when I was young, wandering the aisles of my friend’s fathers’s

antique store. The store was called The Antique Warehouse - it was cavernous and dark, and

the aisles were long and windy. My fingers would trace the crevices of the many mysterious

objects. I remember their smells, colors, and textures. But most vividly, I remember feeling a

sharp craving to understand these objects beyond my physical senses. So I made up stories

about them, elaborate fantasies about what they were, what they used for, and who used them.

With each story, I transported myself into the object, and the very boundaries between the

object and myself became blurred.


The experience was nothing short of magic.


What is magic? I think of magic as an attempt of connecting with all that is beyond our

understanding or capacity, and successfully creating a moment where one can believe that

distance is overcome.


My body of work thus far has been investigation of this idea of magic, the simultaneous

lightness and heaviness that is created when the imagined is labored into the physical realm.

The act of making becomes an action of physical wish fulfillment. The physical result becomes a

proxy, a body without organs-it exposes our innate drive to connect yet reveals the deficiencies

in our physical capabilities to do so.


I identify myself as a representational artist that is influenced by the technology and culture of

contemporary society. In this age we live in, representations are working toward the goal of

fulfilling our need for intimacy through artificial means. Representations are ubiquitous in our

experiential reality. I feel comfortable sculpting from images I mine from the internet, books, or

television. I feel satisfaction from taking molds off of found forms, replicating them, and

manipulating the authenticity that lies on the surface of the wax.


Through the process of making, I see the forms I create become artifacts of a desire to connect.

Forms become vehicles that transform my experience into personal myth. I form with this

lexicon of symbols to gain a greater vantage point, a greater perspective-to see the connections

that exist between the self and other. As I labor these longings into the physical world, they

reveal the hand, that hand that endeavors to manifest creations that can fly on their own, yet too

afraid to let a hold of them.