My work is an exploration of human movement. I have observed from a range of different live models that the emotional and psychological constitution of a person is reflected in their movement vocabulary. Aside from anatomical and biomechanical studies which are theoretical, I practice many types of dance from contemporary to social, in order to develop a movement lexicon in my own body. Through my personal experience of movement, I am able to relate the visceral experience of my subjects.
I find that direct interaction with the sculptural mediums of bronze, terracotta and cast glass best convey my findings. Bronze physically conveys a sense of permanency and monumentality, terracotta conveys earthiness, while glass represents our ability to ephemerally merge and be reflected by our environment. I am fully involved in every phase of modelling the original sculpture, molding, casting wax copies, gating, investment, casting of final material, chasing and refinishing, patina and final finishing. I believe that understanding every phase of sculpture allows me to see new possibilities in their creation that would otherwise be lost, if I followed the common practice of having another craftsman mold, cast and finish my work.
In the past my subjects have been moving in spaces that the city can provide- closed rooms with doors and manmade floors. I would like to explore how I will move differently in a natural environment and sculpt new figures that have a relationship with nature. I have found that our body movement produces a kind of harmonics in space, while spaces allow for certain acoustic experiences for the body to react to. I am excited by the potential for new and fresh body movements that can induce dynamic changes in the psychological/emotional experience and vice versa.
I studied classical realism to be able to render what I observe. What I have observed is that the majority of people's minds are alienated from their bodies. Even the classical way of posing still, live models is a form of alienation- rigidly holding one's body still for long periods of time so an artist can render a "beautiful" image is an oxymoron. The models are in pain while being posed to seem "relaxed and aesthetically pleasing." This practice of fakery has been passed down historically and propagated in media such as fashion magazines and advertising. I am searching for holistic movement. By exploring and tracking the emotional/psychological effects of specific body movement, I am developing sculptural movements that are about our innate mechanisms. I wish to break from contradictory "superficial" aesthetics that are a product of a conceptualized body. I see that many problems today are caused by a schism between mind/emotion/body connections, and I hope that my work will embody a new vision of living balance.