In creation I find a sense of power and control that is elusive in other aspects of my life. I tend to create objects and time-based works that are heavily crafted and meticulously rendered. I often spend a great deal of time with each piece, in turn creating a sense of preciousness that adds to the concept behind the work. I cannot seem to break the connection between power and making, so the work itself tends to speak about the very nature of power, or lack thereof. I play with the cute aesthetic; my work often appears small and innocent, sweet and precious. However, at closer inspection, I peel back the illusion of societies’ obsession with vulnerability, and reveal how truly grotesque cuteness can be.
The process of making is always an experimental one. I want to continually push the boundaries of the materials I work with. Clay is my primary material, one that is malleable and delicate. Aside from its sculptural capabilities, I’ve been experimenting with the many ways clay can move in time. From making clay puppets that are manipulated frame-by-frame, to making a series of vessels that each are a frame of animation. I want to play with clay’s ability to interact with digital technology, from generating sound and reshaping the waveforms, to animating a sculpture’s image in a digital space.
Within creation I not only find a sense of self, but also investigate my relationship to the world around me. I enable my personal empowerment through knowledge of a material and through the manipulation and control of that material. At the same time, I want to actively engage in the conversation of contemporary aesthetics and explore deeper implications of power in society.