Artist Statement
My work focuses on the internal distortion, decay, and disruption of human anatomy. We rely heavily on our body’s structure, and my work challenges our perception about the integrity of the human form. I abstract the flesh and communicate the grotesque nature of affliction to the body through the melting, tearing, and stitching of fabric and foam. The stitching represents the body’s obligation to mend itself after tribulation. The portrayal of the decaying forms in relation to the stitching is an expression of the body’s struggle to maintain itself. The use of melted red fabric alone, or the use of the glossy red paint on foam in juxtaposition with flesh-toned fabric, elicits instinctual distress by an uncomfortable association with physiological trauma.
A lot of my work is rooted in material exploration and I often work with media that are not predictable, first experimenting with their capabilities before choosing the material that feels suitable for the piece I am creating. I primarily work with fabrics and foams, and I am interested in exploring the boundaries of these materials. Problem solving and letting the material guide me as I form it often results in an artwork that visually contrasts with my original idea. I present my work both as singular pieces – such as sculptural paintings or freestanding sculptures – and as installation; which configuration I use is often determined through my explorative process. The intuitive nature of this process leads to work that is fluid and beautifully disturbing.
A lot of my work is rooted in material exploration and I often work with media that are not predictable, first experimenting with their capabilities before choosing the material that feels suitable for the piece I am creating. I primarily work with fabrics and foams, and I am interested in exploring the boundaries of these materials. Problem solving and letting the material guide me as I form it often results in an artwork that visually contrasts with my original idea. I present my work both as singular pieces – such as sculptural paintings or freestanding sculptures – and as installation; which configuration I use is often determined through my explorative process. The intuitive nature of this process leads to work that is fluid and beautifully disturbing.