I am inspired by phenomena, both physical and metaphysical, and their relationship to the human experience. On a physical level, we can easily communicate shared experience because it is something that can be observed by more than one person simultaneously. However, I am more interested in utilizing tangible reality to express a transcendental one that we are all capable of. My work aims to communicate the relationship between mind, body and spirit.
The concept of tangible and intangible informs a lot of my form language. Through the practice of meditation I become aware of divine visuals- patterns of shapes, colors, and light. Transcendental meditation creates a unique reality that offers insight to our truest form of existence: pure consciousness. I aim to share these personal experiences with the viewer in order to inform them of the intimate relationship of interconnectedness. The open folds and holes found in my work are meant as a reminder of the true beauty that exists beneath the surface. Projected lighting allows me to share my personal visual experience of deep meditation. My forms with elements bursting through the surface are expressions of the mental and spiritual breakthrough experienced through self-realization.
The materials in my work directly correlate to planes of existence. Organic materials, such as wood and wool, are symbolic of a shared reality we can recognize on a physical plane. The metaphysical plane is represented by light, shadow, and color through form language, LED lighting, and stones. I use a variety of processes that include traditional metal techniques as well as computer aided design and laser technology. CAD provides opportunity for modeling elegant forms for the 3D printed elements of my work. The laser cutter allows me to engrave the hypnotic visual patterns of meditation on acrylic. I utilize fold-forming, lost wax casting, and forging to achieve dimensional metal forms. Vacuum forming provides a simple method to create seamless composite forms in styrene for dynamic modeling.