My work is inspired by magic, ritual, and an exploration of the concept of the uncanny. I am interested in the mind's attempts to make sense of confusing or contradictory stimuli, and my artistic process tends to hover on the border between unpredictability and stability, attraction and repulsion, fragility and strength, reflectivity and transparency.
Within this exploration of ritual and magic, the identity of material has become increasingly important. In my sculptural and installation work, I am fascinated by the associations of hair, dust, bones, wax, and other signifiers of memory and the body. The beauty of these materials hinge on their uncanniness, their simultaneous attraction and repulsion, and their connections to issues of transformation.
My process and aesthetic draws from many sources: skin and transparency...Dust and bones...Old Victorian scientific apparatus. Hair wreaths, lockets, and memory. Corsets. Zoetropes. Reliquaries. Marionettes. Old flying machines. Anything that is elaborate, intricate, full of purpose, and yet doesn't work. The fragile, the broken, the defunct, the wonky, the tragic and the absurd.
In my glassworking, I am further intrigued by the concept of the vessel, and my blown glass works refer to the role of the vessel in myth and ritual. The goblet, the hourglass, the reliquary, the urn, the potion bottle; all have a rich visual history and association with a magical animistic (un)reality. I seek, in my artistic investigations, to evoke this sense of unreality and strangeness, to reconnect with old myth and ritual, and to awaken a sense of strange and curious wonder.