About My Practice

My sculpture explores the relationship between forms, materials, surface, and space. I think of sculpture not as a singular object, but as a conversation between opposing forces, between intention and accident, structure and improvisation. Much of my work grows from the tension created when forms are placed into dialogue with one another.

For many years I worked primarily in monochromatic EPS foam, developing a body of work centered on interaction between fragmented organic forms and the perfect symmetry of the sphere. I discovered the irregular breaks, cuts, and imperfections of foam often became the most compelling parts of the sculpture, and I began incorporating them into my work.

Over time, this led to an expanded vocabulary that now includes steel, marble, wood, burlap, plaster and resin. Each material has its own physical characteristics, altering how the forms interact and how the work occupies space.

Recently, painting has become central to my practice and has fundamentally shifted how I approach sculpture. I find myself asking whether I am adding color to sculptural forms, or constructing three-dimensional surfaces to paint. That unresolved relationship has become central to my practice.

My inspiration often comes from small moments — shadows across a wall, weathered surfaces, discarded materials in the studio, or subtle relationships between natural and constructed forms. I am interested in how balance can emerge from opposition and how imperfect, damaged, or unstable elements can coexist with order, calm, and formal clarity.

Ultimately, I want  my work to create a contemplative experience — something that invites sustained interaction rather than immediate explanation. I hope my sculptures allow viewers to form their own personal, emotional response to my work.