A deep historical relationship can be found between humans and the objects we create, specifically those objects crafted in our own image. There is complexity in the idea of the human desire to rationalize our existence through myth, religion, and symbols that I am interested in as an artist. I find that both the roles of the deities and the people who worship them harness the characteristics of the creator and the created. The fluidity of these roles is emulated most readily in clay as a material. I think of my work as a cultural reflection, imbuing the space around it rather than focusing on who each figure is meant to be. It's not an individual, but an object echoing a psychological space, a true portrait of the human condition: damaged, seeking redemption, and prevailing.
I create each piece carefully, using a combination of personal experiences, psychoanalysis, and anthropology to guide my composition. I then orchestrate a confrontation between my audience and the finished object through color, scale, realism, and eye contact. My practice references my religious upbringing and classical forms, focusing on the psychology behind belief itself. The figurative subject is one that all cultures and time periods are intimately familiar with, allowing for an intrinsic visual language.
My work is extremely physically involved, both within the making process and the finished object. I construct each sculpture using a combination of wood, steel, and hundreds of pounds of clay that I oftentimes move with my entire body during varying stages of my practice. The physical endurance in my work reflects my own life practices and subscriptions, exploring the idea of the figure as myself, the tool, and the object. Like the pieces I make, the human experience causes damage and wear both internally and externally, but those are attributes that allow us to address mortality and discover moments of equanimity.