My large-scale sculptural projects juxtapose logical structural forms between interactive play. This tug and pull between function and playful sensibility opens the possibilities of what these installations can offer. Can a painting become a pendulum or a sculpture become a kite? A contrast of rigid materials, like wood, metal, and cement, with flexible materials, like fabric and plastic, creates tension with structural permanence. This is driven by my interest to use things that are formal and make them informal, such as casting cement in fabric to make movable sculpture. There is a certain amount of softness I seek to infuse into these strong, traditional materials of sculpture, whether it is through light, string, or surface treatment, to bring a different tone to the conversation. Overall, a consistent element in my work is an attention to detail to craft, so that every component from the fasteners to the installation is intentional. The presence of an authoritative object with fabricated precision asks the question for what is its specific function.
Light is an equal interest as form in my work. Through different lighting conditions, whether it is daylight, nighttime, or spotlights, these can change the nature of the materials and transform previously unseen characteristics. This idea of the spectacle of light attracts people around the glow and arouses wonder. Such examples of this type of spectacle and public engagement are contemporary architecture, neon facades, fireworks, seaquariums, and hot air balloons. In my piece Triangulation Exposure, I use a black light to highlight the subtle nuances of UV paint on a figurative metal sculpture.
Movements such as Neo-concrete, Pop Art, Light and Space, and Neo-Dadaism are of interest to me for their balance of whimsy and wit. These notions inspired my piece Kick in the Elementary, built from an inverted glass base, with chrome and furniture legs kicking into space, while string and colored acetate stretch upwards. This sculpture draws connection to art historical influences from Marcel Duchamp’s Bride Stripped Bare by Her Bachelors, Alexander Calder’s bright colors, and Matisse’s cutouts. This was translated by using found objects with colored acetate that captured the ambiguity of a readymade with the dynamism of bright colors. This project was the beginning of my investigation of light and projection and these characteristics continue in my recent work.