My current body of work attempts to capture a certain essence. I find this essence frequently in other forms of art: film, music, and photography. My fascination with worn machinery, decayed surfaces, excavated space, and objects of the past are of great importance to this notion. As a child, I would lay on the driveway, looking closely at all the cracks and imperfections in the concrete. I wondered “What is going on under the surface?” Sometimes I would catch groups of ants transporting material in these deep crevices, living vibrantly in this mysterious under-the-surface environment. I am allured by the world that exists there.

I view my sculptural objects as parallel to a composer creating a piece of music. As a former cellist, I have the knowledge needed to understand music and its structure. These structures are apparent in many works of art: rhythm, tone, color, a focal point, etc. When these elements are combined, they create a unified whole. While I listen to music, I begin asking myself, “What does color, texture, and form mean in regard to sound? What would this sound look like if it could be seen instead of heard? Can music have a visual equivalent?” These questions aid me in my search to create unified sculptural work.

Using this strict method of creation, I currently explore my increasing distrust for technology, in an attempt to destroy it. I aim to create pieces that reference an unease of the future with our heavy reliance on unreliable machines. In exposing a layered world in these constructs, I want to reveal a truth that lies beneath the surface.