Gallery > Sculpture

Composition #154 (Cloister)
found concrete and asphalt, porcelain
11.5” x 6” x 9”
2017
Composition #153 (Hollow)
found concrete and asphalt, porcelain
8” x 6” x 4.5”
2017
Composition #152 (Island)
found concrete, porcelain
3.5” x 3.5” x 9”
2017
Composition #151 (Bird in the Hand)
found concrete, porcelain
6” x 3.5” x 4”
2017
Composition #150 (Dyad)
found concrete, porcelain, mixed media
6” x 6” x 3”
2017
Composition #149 (Black Flower/Shine)
found brick fragment, porcelain, mixed media
4” x 4” x 10”
2017
Composition #148 (Grey Leaves/Crush)
found brick fragment, porcelain
17” x 6” x 4”
2017
Composition #147 (Corners)
found concrete, porcelain, mixed media
14” x 5” x 6”
2017
Composition #145 (Three Flowers)
ound concrete, porcelain, mixed media
6.5” x 6.5” x 5.5”
2017
Composition #146 (Flag), 2017, found concrete with embedded objects, porcelain, monofilament, 20” x 17” x 11”
found concrete with embedded objects, porcelain, monofilament
20” x 17” x 11”
2017
Composition #144 (Red and Blue)
found concrete, porcelain, monofilament
7” x 7” x 3”
2017
Composition #143 (Blue Rocks)
found concrete, porcelain, mixed media
8” x 7.5” x 9.5”
2017
porcelain and asphalt sculpture
found asphalt, porcelain
7” x 5” x 5”
2017
Composition #141 (Light and Shadow)
porcelain, concrete, asphalt
10" x 4.5" x 8"
2016
Composition #140 (Extended Branch)
porcelain, concrete
10" x 12" x 3.5"
2016
Composition #139 (Yellow Flower)
porcelain, concrete
9" x 7" x 8"
2016
Composition #138 (Caught)
porcelain, concrete
9.5" x 5" x 3.5"
2016
Composition #137 (Raft)
porcelain, concrete
11" x 4" x 3.5"
2016
Composition #136 (White Fragments)
porcelain, asphalt
5" x 4.5" x 3.5"
2016
Composition #135 (Black Flower)
porcelain, concrete
5" x 6" x 3"
2016
Boundary Line
porcelain, fake turf
2008
All Good Houses Go To Heaven
porcelain, fake turf, glitter
2008
Settling In (from the Suburbia Project series)
porcelain
7” x 2.5” x 3”
2006
How to Touch a Cul-de-sac
porcelain, mixed media
2009
How to Touch a Cul-de-sac, detail
porcelain, mixed media
2009
How to Touch a Distant Daughter
porcelain, mixed media
2009
How to Touch a Distant Daughter, detail
porcelain, mixed media
2009
How to Touch a Naked Man
porcelain, mixed media
2009
How to Touch a Naked Man, detail
porcelain, mixed media
2009
How to Touch a Naked Man, detail
porcelain, mixed media
2009

I am a scavenger and gleaner. As I move through the constructed landscapes of urban and suburban spaces, I find myself reaching down to collect bits and pieces of roadways, sidewalks, and crumbling architecture. These chunks of brick and concrete are geological in their presence: signifiers of the Anthropocene epoch, constructed by the actions of humanity rather than the forces of nature. I am attracted to the exquisite variety found in the conglomerations of these urban artifacts. Once these fragments arrive in the studio, I carefully wash away the dirt and grime, scrubbing clean their surfaces to reveal a surprising range of colors and textures. Some are further embellished with enamel and reflective highly reflective beading, while others remain in their original state.

My habit of collecting also extends to natural world. The foliage that I am compelled to gather and preserve tends toward the fleeting and the unwanted: weeds collected by the roadside, branches and leaves trimmed from hedges, shrubs and trees removed to improve the view, and flowers picked as they begin to wilt and fade. In the studio, I dip these bits and pieces of plant material in liquid clay. These pieces are then dried and fired, slowly burning away the original organic material, leaving behind only delicate porcelain fossils. These fragile objects are then glazed in variety of colors and textures and fired again to an even hotter temperature. The layers of slip and glaze on these fragile porcelain forms serve to obscure the once recognizable flowers and leaves, stripping them of their familiar connotations. Many are lost, broken, or discarded in the in this process. I sift through what remains, in search of the most beautiful and intriguing fragments.

These disparate concrete and porcelain objects find union in my carefully composed sculptural forms. The precisely constructed arrangements imply bits of landscape overtaken by a nature that has become luminous and radioactive. Others resemble carefully ordered and composed specimens on display. These tiny fragments evoke dark gardens of fragile and shadowy foliage, conjuring a landscape both enchanting and contaminated.