My practice draws on ancient techniques—bronze casting, glass forming,
textile work—that have long been used to carry memory, ritual, and identity.
I work with form, space, and time to explore the poetry of human
biology—translating emotional states into physical forms through materials
with deep histories: bronze, glass, wool. I bring these forms into light
installations. In these responsive environments, light, sound, sculpture, and
viewer briefly become a single, co-creative system, and the work responds
to the body as much as the body responds to the work.
My practice draws on ancient techniques—bronze casting, glass forming,
textile work—that have long been used to carry memory, ritual, and identity.
People were casting bronze before they could write. Wool has clothed and
warmed us for millennia. Glass, once rare and magical, was shaped in fire
by hand before it filled our screens. I engage these traditions not to
replicate the past, but to enter into conversation with it—to explore how
ancient knowledge can capture contemporary emotion.
Motherhood, with its raw physicality and shifting psychological terrain,
shapes my approach to the body. My process is labor-intensive and
intimate: sewing, burning, washing, melting, casting. These gestures mirror
the slow, transformative nature of maternal experience. They leave
traces—scars, imprints, residue—on the finished forms.
Each sculpture begins with brightly colored wool, cut and sewn into
abstract anatomical shapes—part organ, part feeling. These soft, pliable
forms undergo repeated transformation. Some are used as patterns for
molten glass or bronze; others are burned away in a modified lost-wax
process. What survives are singular objects—interior portraits of lived
experiences.
I photograph these sculptures and reintroduce them into the world through
surround projection. The machines hum quietly, casting light and warmth,
transforming the space into a low-lit, womb-like environment. As viewers
move through it, their bodies interrupt the beams, casting shadows,
merging with the images. Their presence becomes part of the
work—activating, disrupting, reshaping it.
This merging of body, object, image, and sound opens a space of
reciprocity. My light installations invite viewers into a interactive
environment, where perception is layered and porous. Sculpture, light, and
body come together in an ongoing negotiation between inner and outer, self
and other, ancient and now.