“I came across a puddle one afternoon where gray clouds moved fast across the acidic sunset resembling smoke. It reminded me of the background from Edvard Munch’s The Scream. The fluorescent cones and mesh transformed into nets and ropes that caught fire. The swaying power and telephone lines resembled towering sails and riggings that moved uncontrollably due to an approaching storm. The reflection mirrored oppositions, contrasting power to the spiritual and conquest to transcendence. A space that symbolized construction and progress reflected chaos and destruction. It reflected a space overcome by vertigo.”
At every construction zone, a reoccurring image denies its refusal to be overlooked and forgotten. The ruins of the past restructure themselves by delineating a passage that acts as a point of slippage: oscillating in and out of form. Intersecting vectors from telephone poles, cranes, and wood debris build up geometries and cruciforms that accumulate to semblances of ships. At this scene, trajectories of histories and traditions collide. The reoccurring afterimages trigger memories of the impact, memories that are migratory, unstable and in constant flux.
The manipulation of fragments from objects found (such as antique furniture parts, plastic crates, magazines, books, etc.) are used as words that can be negotiated, arranged and rearranged into endless visual and communicative statements, deconstructing and reconstructing, ordering and shifting. Embracing change through my working process as well as through my use of materials, such as tape, allows me for quick modification and restructuring. The conditional and situational placement of these materials within the architectural container reshuffles their value, function and origin, reclaiming them as building blocks, leaving the finalized sculptural forms to express the potential to shift, morph, or be perceived in new contexts. Through the investigation of exploding and imploding forms, progress and destruction, I address how the perception of these conditions can be shaped by what is visible or hidden.
2005 - 2010
At every construction zone, a reoccurring image denies its refusal to be overlooked and forgotten. The ruins of the past restructure themselves by delineating a passage that acts as a point of slippage: oscillating in and out of form. Intersecting vectors from telephone poles, cranes, and wood debris build up geometries and cruciforms that accumulate to semblances of ships. At this scene, trajectories of histories and traditions collide. The reoccurring afterimages trigger memories of the impact, memories that are migratory, unstable and in constant flux.
The manipulation of fragments from objects found (such as antique furniture parts, plastic crates, magazines, books, etc.) are used as words that can be negotiated, arranged and rearranged into endless visual and communicative statements, deconstructing and reconstructing, ordering and shifting. Embracing change through my working process as well as through my use of materials, such as tape, allows me for quick modification and restructuring. The conditional and situational placement of these materials within the architectural container reshuffles their value, function and origin, reclaiming them as building blocks, leaving the finalized sculptural forms to express the potential to shift, morph, or be perceived in new contexts. Through the investigation of exploding and imploding forms, progress and destruction, I address how the perception of these conditions can be shaped by what is visible or hidden.
2005 - 2010