In my recent work, I depict time’s movement as ruination, artifact, or geological process. I examine the psychological and bodily characteristics of our built and natural environments, exploring relationships within collections of forms.
My sculptures map the distinction between the organic and the inorganic and the different processes they undergo. Rejecting the notion of ruin as nostalgia, I reference architecture and natural forms to diagram incompleteness or fractured time. This suggests the unearthing of the past and the imperfect state of memory but also openness to the future.
My structures are made from raw materials such as concrete, steel, and wood, which are juxtaposed with forms made from handmade paper painted with pigmented pulp. The pulp paint is extremely responsive, shifting with the water and fibers below, embedding itself in the paper. While still wet, the skin-like paper is laminate sheet-cast around an armature, shrinking to the skeletal structure I have built. Once the paper dries and becomes a volumetric form, a transformation happens. Painterly marks, drips, and stains become artifacts of the process as the texture moves from wet to dry and the surface moves from substrate to object.
The tactility of paper creates a dynamic energy in contrast to the inert quality of the industrial materials, which act as both support and remnant. Together, these materials create fragile structures that are seen as events, still-occurring.