In my practice I am developing a unique and refined material language, combining materials that can slump and hold shape simultaneously to create sculptures that resist preconceived notions of materiality – softness holds weight; hardness trembles.   
 

Human in scale, my work concerns the meeting of bodies and the exchanges that happen within that moment. Touch informs and activates my sculpture. Some work, cast flat, gains form through an intimate process of bending, often taking shapes from parts of my own anatomy – some public, some more private.  At the same time, I explore the effect of presence, both current and past. The proximity of an observer can induce movement. Past interactions are suggested with texture and imprint.    

  

Using water and other kinetic elements, I create soft trembling movements in forms that would otherwise seem fixed. Material ambiguity is offset by corporeal elements: skin textures; traces of human touch; bodily scale. The discovery of details that reference oneself offer an entry point to the work, acting as a familiar feature in an otherwise unknown form. A soft-strong structural method I have developed allows me to exhibit the same sculpture in different configurations, playfully questioning the onus traditionally placed on final form.    

  

Understanding material properties and developing new production methods are fundamental to my practice. I have developed and refined a process over the last five years which involves casting malleable elements within silicone. This has provided the foundation for much of my work, supporting new material experimentations. Most recently I am working with copper and water, using the interplay of light and fluidity to reveal elemental and protean associations.