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I am interested in the moment of confusion and loss of stability that occurs when a normally useful and reliable object becomes an independent thing, leaving its role as being subservient to the human user. By manipulating common furniture objects which are designed to support us and provide us with comfort, I remove them from their place of serving human needs and allow them to display personality, tension and movement of their own. Divorced from function, furniture objects become something unnerving, echoing the human impact and intended utility, yet possessive now of a certain set of characteristics unattainable within the world of practical commodity. My practice illuminates the secret identity of things, posing questions about how we view objects when they are dismantled, rearranged, morphed or distorted. The instinct of the viewer is one of imagining utility in the objects, but this futile practice leaves one with the question of the purpose of the object after usefulness disappears. The forms that my sculptures take suggest a humanness in the absence of a person. As the chair serves as a mimesis for the body, each piece can be seen as a movement, relationship, conversation, or introspection that breathes life into the oft-passed over item.

Through my work I create objects that examine both inter- and intrapersonal relationships using reassembled furniture parts that serve as mimeses for human subjects. Common issues my practice addresses are co/dependence, mis/communication and in/stability. These themes are often represented dichotomously through the use of multiples and interlocking forms. While my work is an investigation into human relationships, it also raises questions about our interactions with the objects that surround us. As I distort objects through form, color and material, the viewer must examine the destabilization caused by this and reflect on their reliance on and expectations of these things.

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