My installations are delicate and precarious. My studio practice becomes a place that restores order, where I can arrange, organize, and build a new structure; It’s a space where I am in control. My works have a sense of clean control that involve an airy looseness, giving the sense of playfulness, while remaining serious and determined. I use ceramics, which melts, bends, and warps, which adds another level to the challenge of keeping absolute control. Through thorough research and experimentation with the material, I am able to understand the characteristics and the science of clay. It’s a back and forth battle of keeping control while also embracing and celebrating the failures along the way.
I am attracted to the symmetrically composed scenes in movies by Wes Anderson and always carefully consider balance and order to achieve an aesthetically satisfying, yet precarious composition. I also use pops of color and am able to create an environment that is familiar yet difficult to place. Inspired by the tedious nature of the large-scale seed bead installations by Liza Lou, I too, use repetition and multiple handmade objects to construct my life-sized installations. The repetition of creating these rings in multitude help me lose myself and become fully immersed in my practice.
I combine my sculptures with a curtain or painted background to add another layer of texture and dimension. The rings are hollow, allowing color and pattern to seep through, filling the empty void. Using other materials to mimic the patterning I achieve with the clay is another way to push repetition and control with in my work. It allows me to play with scale, show or hide the texture of my finger prints and layer the compositions of the installations.
In my work, I show that through order, chaos and failure can be subdued while also celebrated.