“My work frequently takes the form of sculptural objects, yet I feel drawn to working in less conventional ways. Work that must be worn has created new perspectives for me to view my own work, and to use my work as a lens itself. Sculpture that enables performance and movement has become a major component of my work—I feel the need to participate in my own work more directly, not just in the creation of it. I don’t want the conversation to end the moment a sculpture leaves my studio.

I have begun to include references to the aesthetics of sensory organs, tongues and eyes in particular. Their varied shapes and functions serve as inspiration for texture and shape. Representing the tools we use to interact with reality is critical to me, they are devices that build memories. The most vivid recollections start from a scent or taste, but the act of tasting is secondary by nature, a means to an end. Sensory organs are the boundaries of our personal universe.

Familiar objects are mythologized, transformed from inanimate to living beings. An allegorical approach to personal history allows simple moments to loom large, referencing the significance we associate with our pasts. By emphasizing vulnerability and trust as the opposing forces of childhood, my work approaches memory as a source of power.”