My ceramic sculptures are physical representations of our psychological incongruities: the doubts, questions, and shifts in perspectives through which we view the memories of our lives. The act of reflecting upon our experiences can often become an investigation, a system of discovering and constructing underlying emotional structures. I find that a memory’s ability to mutate—to restructure reality or to erode the truth—is a potent source of inquiry for my work.
The sculptures appear soft and pliable, yet they are hardened and permanent objects in space. This perceived softness relates to the flesh of the body in order to connect with our innate humanness and the malleable perception of our memories. Their fixed state serves as a means to document a single instance of a recalled event, to create a calcified moment of the past. Through various ambivalent postures, props, and subtle comparisons, the forms evoke a curiosity, a desire to empathize with their conflicting state.