TousArtworks

This series of ceramic sculptures examines the concept of unravelling as both a sculptural gesture and an emotional state. Through these forms, I delve into how belonging is negotiated and how material fragility can hold profound resilience. My work engages the meeting points of nature and culture, where the act of becoming is always accompanied by the balance of undoing.

I use paper clay to build forms that are deliberately loose and precarious – objects that seem to unravel as much as hold a moment of memory. Their instability reflects the uncertainty of starting over, while their delicate strips conceal a quiet persistence. Rather than fixed vessels, my sculptures are temporary resting points where balance is tested, belonging unsettled, and the invisible weight of experience allowed to take form. In their presence, sorrow and wonder coexist, each holding space for the other. My work does not seek to resolve these contradictions, but to reveal their entanglement – the beauty and difficulty of living between that has been left behind and what has yet to come.

This series of ceramic sculptures examines the concept of unravelling as both a sculptural gesture and an emotion ...

This series of ceramic sculptures examines the concept of unravelling as both a sculptural gesture and an emotional state. Through these forms, I delve into how belonging is negotiated and how material fragility can hold profound resilience. My work engages the meeting points of nature and culture, where the act of becoming is always accompanied by the balance of undoing.

I use paper clay to build forms that are deliberately loose and precarious – objects that seem to unravel as much as hold a moment of memory. Their instability reflects the uncertainty of starting over, while their delicate strips conceal a quiet persistence. Rather than fixed vessels, my sculptures are temporary resting points where balance is tested, belonging unsettled, and the invisible weight of experience allowed to take form. In their presence, sorrow and wonder coexist, each holding space for the other. My work does not seek to resolve these contradictions, but to reveal their entanglement – the beauty and difficulty of living between that has been left behind and what has yet to come.

This series of ceramic sculptures examines the concept of unravelling as both a sculptural gesture and an emotion ...

In this series I create structures in clay to investigate the idea of unravelling. Each sculpture has several resting points playfully blurring the line between place and purpose, seen and unseen. My work investigates the interplay of nature and culture as they unfold notions of balance and belonging.

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both relate to the uncertainty of becoming. Through precarious and intuitive handwork, I construct loose vessels in clay to question the paradox and tension between individuality and community. With inviting arches and forbidding angles, my sculptures capture moments of material wonder and connection in clay. The history of making plays a meaningful role in my process and drives my interest in the visual stories conveyed by inanimate objects.

I am fascinated by the way emotions colour moments in time and how the cherished and reviled parts of an experience reflect an inner landscape in fluid transition. Paper clay subverts the meaning of “thin places” as points of weakness to prove a place of mysterious possibility. The ribbon-like strips of clay reference delicate systems, material versatility and elements of collage.

In this series I create structures in clay to investigate the idea of unravelling. Each sculpture has several res ...

In this series I create structures in clay to investigate the idea of unravelling. Each sculpture has several resting points playfully blurring the line between place and purpose, seen and unseen. My work investigates the interplay of nature and culture as they unfold notions of balance and belonging.

In this series I create structures in clay to investigate the idea of unravelling. Each sculpture has several res ...

In this series I create structures in clay to investigate the idea of unravelling. Each sculpture has several resting points playfully blurring the line between place and purpose, seen and unseen. My work investigates the interplay of nature and culture as they unfold notions of balance and belonging.

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both relate to the uncertainty of becoming. Through precarious and intuitive handwork, I construct loose vessels in clay to question the paradox and tension between individuality and community. With inviting arches and forbidding angles, my sculptures capture moments of material wonder and connection in clay. The history of making plays a meaningful role in my process and drives my interest in the visual stories conveyed by inanimate objects.

I am fascinated by the way emotions colour moments in time and how the cherished and reviled parts of an experience reflect an inner landscape in fluid transition. Paper clay subverts the meaning of “thin places” as points of weakness to prove a place of mysterious possibility. The ribbon-like strips of clay reference delicate systems, material versatility and elements of collage.

In this series I create structures in clay to investigate the idea of unravelling. Each sculpture has several res ...

In this series I create structures in clay to investigate the idea of unravelling. Each sculpture has several resting points playfully blurring the line between place and purpose, seen and unseen. My work investigates the interplay of nature and culture as they unfold notions of balance and belonging.

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both relate to the uncertainty of becoming. Through precarious and intuitive handwork, I construct loose vessels in clay to question the paradox and tension between individuality and community. With inviting arches and forbidding angles, my sculptures capture moments of material wonder and connection in clay. The history of making plays a meaningful role in my process and drives my interest in the visual stories conveyed by inanimate objects.

I am fascinated by the way emotions colour moments in time and how the cherished and reviled parts of an experience reflect an inner landscape in fluid transition. Paper clay subverts the meaning of “thin places” as points of weakness to prove a place of mysterious possibility. The ribbon-like strips of clay reference delicate systems, material versatility and elements of collage.

In this series I create structures in clay to investigate the idea of unravelling. Each sculpture has several res ...

In this series I create structures in clay to investigate the idea of unravelling. Each sculpture has several resting points playfully blurring the line between place and purpose, seen and unseen. My work investigates the interplay of nature and culture as they unfold notions of balance and belonging.

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both relate to the uncertainty of becoming. Through precarious and intuitive handwork, I construct loose vessels in clay to question the paradox and tension between individuality and community. With inviting arches and forbidding angles, my sculptures capture moments of material wonder and connection in clay. The history of making plays a meaningful role in my process and drives my interest in the visual stories conveyed by inanimate objects.

I am fascinated by the way emotions colour moments in time and how the cherished and reviled parts of an experience reflect an inner landscape in fluid transition. Paper clay subverts the meaning of “thin places” as points of weakness to prove a place of mysterious possibility. The ribbon-like strips of clay reference delicate systems, material versatility and elements of collage.

In this series I create structures in clay to investigate the idea of unravelling. Each sculpture has several res ...

In this series I create structures in clay to investigate the idea of unravelling. Each sculpture has several resting points playfully blurring the line between place and purpose, seen and unseen. My work investigates the interplay of nature and culture as they unfold notions of balance and belonging.

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both relate to the uncertainty of becoming. Through precarious and intuitive handwork, I construct loose vessels in clay to question the paradox and tension between individuality and community. With inviting arches and forbidding angles, my sculptures capture moments of material wonder and connection in clay. The history of making plays a meaningful role in my process and drives my interest in the visual stories conveyed by inanimate objects.

I am fascinated by the way emotions colour moments in time and how the cherished and reviled parts of an experience reflect an inner landscape in fluid transition. Paper clay subverts the meaning of “thin places” as points of weakness to prove a place of mysterious possibility. The ribbon-like strips of clay reference delicate systems, material versatility and elements of collage.

In this series I create structures in clay to investigate the idea of unravelling. Each sculpture has several res ...

In this series I create structures in clay to investigate the idea of unravelling. Each sculpture has several resting points playfully blurring the line between place and purpose, seen and unseen. My work investigates the interplay of nature and culture as they unfold notions of balance and belonging.

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both relate to the uncertainty of becoming. Through precarious and intuitive handwork, I construct loose vessels in clay to question the paradox and tension between individuality and community. With inviting arches and forbidding angles, my sculptures capture moments of material wonder and connection in clay. The history of making plays a meaningful role in my process and drives my interest in the visual stories conveyed by inanimate objects.

I am fascinated by the way emotions colour moments in time and how the cherished and reviled parts of an experience reflect an inner landscape in fluid transition. Paper clay subverts the meaning of “thin places” as points of weakness to prove a place of mysterious possibility. The ribbon-like strips of clay reference delicate systems, material versatility and elements of collage.

In this series I create structures in clay to investigate the idea of unravelling. Each sculpture has several res ...

In this series I create structures in clay to investigate the idea of unravelling. Each sculpture has several resting points playfully blurring the line between place and purpose, seen and unseen. My work investigates the interplay of nature and culture as they unfold notions of balance and belonging.

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both relate to the uncertainty of becoming. Through precarious and intuitive handwork, I construct loose vessels in clay to question the paradox and tension between individuality and community. With inviting arches and forbidding angles, my sculptures capture moments of material wonder and connection in clay. The history of making plays a meaningful role in my process and drives my interest in the visual stories conveyed by inanimate objects.

I am fascinated by the way emotions colour moments in time and how the cherished and reviled parts of an experience reflect an inner landscape in fluid transition. Paper clay subverts the meaning of “thin places” as points of weakness to prove a place of mysterious possibility. The ribbon-like strips of clay reference delicate systems, material versatility and elements of collage.

In this series I create structures in clay to investigate the idea of unravelling. Each sculpture has several res ...

This series of ceramic sculptures examines the concept of unravelling as both a sculptural gesture and an emotional state. Through these forms, I delve into how belonging is negotiated and how material fragility can hold profound resilience. My work engages the meeting points of nature and culture, where the act of becoming is always accompanied by the balance of undoing.

I use paper clay to build forms that are deliberately loose and precarious – objects that seem to unravel as much as hold a moment of memory. Their instability reflects the uncertainty of starting over, while their delicate strips conceal a quiet persistence. Rather than fixed vessels, my sculptures are temporary resting points where balance is tested, belonging unsettled, and the invisible weight of experience allowed to take form. In their presence, sorrow and wonder coexist, each holding space for the other. My work does not seek to resolve these contradictions, but to reveal their entanglement – the beauty and difficulty of living between that has been left behind and what has yet to come.

This series of ceramic sculptures examines the concept of unravelling as both a sculptural gesture and an emotion ...

This series of ceramic sculptures examines the concept of unravelling as both a sculptural gesture and an emotional state. Through these forms, I delve into how belonging is negotiated and how material fragility can hold profound resilience. My work engages the meeting points of nature and culture, where the act of becoming is always accompanied by the balance of undoing.

I use paper clay to build forms that are deliberately loose and precarious – objects that seem to unravel as much as hold a moment of memory. Their instability reflects the uncertainty of starting over, while their delicate strips conceal a quiet persistence. Rather than fixed vessels, my sculptures are temporary resting points where balance is tested, belonging unsettled, and the invisible weight of experience allowed to take form. In their presence, sorrow and wonder coexist, each holding space for the other. My work does not seek to resolve these contradictions, but to reveal their entanglement – the beauty and difficulty of living between that has been left behind and what has yet to come.

This series of ceramic sculptures examines the concept of unravelling as both a sculptural gesture and an emotion ...

This series of ceramic sculptures examines the concept of unravelling as both a sculptural gesture and an emotional state. Through these forms, I delve into how belonging is negotiated and how material fragility can hold profound resilience. My work engages the meeting points of nature and culture, where the act of becoming is always accompanied by the balance of undoing.

I use paper clay to build forms that are deliberately loose and precarious – objects that seem to unravel as much as hold a moment of memory. Their instability reflects the uncertainty of starting over, while their delicate strips conceal a quiet persistence. Rather than fixed vessels, my sculptures are temporary resting points where balance is tested, belonging unsettled, and the invisible weight of experience allowed to take form. In their presence, sorrow and wonder coexist, each holding space for the other. My work does not seek to resolve these contradictions, but to reveal their entanglement – the beauty and difficulty of living between that has been left behind and what has yet to come.

This series of ceramic sculptures examines the concept of unravelling as both a sculptural gesture and an emotion ...

This series of ceramic sculptures examines the concept of unravelling as both a sculptural gesture and an emotional state. Through these forms, I delve into how belonging is negotiated and how material fragility can hold profound resilience. My work engages the meeting points of nature and culture, where the act of becoming is always accompanied by the balance of undoing.

I use paper clay to build forms that are deliberately loose and precarious – objects that seem to unravel as much as hold a moment of memory. Their instability reflects the uncertainty of starting over, while their delicate strips conceal a quiet persistence. Rather than fixed vessels, my sculptures are temporary resting points where balance is tested, belonging unsettled, and the invisible weight of experience allowed to take form. In their presence, sorrow and wonder coexist, each holding space for the other. My work does not seek to resolve these contradictions, but to reveal their entanglement – the beauty and difficulty of living between that has been left behind and what has yet to come.

This series of ceramic sculptures examines the concept of unravelling as both a sculptural gesture and an emotion ...

This series of ceramic sculptures examines the concept of unravelling as both a sculptural gesture and an emotional state. Through these forms, I delve into how belonging is negotiated and how material fragility can hold profound resilience. My work engages the meeting points of nature and culture, where the act of becoming is always accompanied by the balance of undoing.

I use paper clay to build forms that are deliberately loose and precarious – objects that seem to unravel as much as hold a moment of memory. Their instability reflects the uncertainty of starting over, while their delicate strips conceal a quiet persistence. Rather than fixed vessels, my sculptures are temporary resting points where balance is tested, belonging unsettled, and the invisible weight of experience allowed to take form. In their presence, sorrow and wonder coexist, each holding space for the other. My work does not seek to resolve these contradictions, but to reveal their entanglement – the beauty and difficulty of living between that has been left behind and what has yet to come.

This series of ceramic sculptures examines the concept of unravelling as both a sculptural gesture and an emotion ...

This series of ceramic sculptures examines the concept of unravelling as both a sculptural gesture and an emotional state. Through these forms, I delve into how belonging is negotiated and how material fragility can hold profound resilience. My work engages the meeting points of nature and culture, where the act of becoming is always accompanied by the balance of undoing.

I use paper clay to build forms that are deliberately loose and precarious – objects that seem to unravel as much as hold a moment of memory. Their instability reflects the uncertainty of starting over, while their delicate strips conceal a quiet persistence. Rather than fixed vessels, my sculptures are temporary resting points where balance is tested, belonging unsettled, and the invisible weight of experience allowed to take form. In their presence, sorrow and wonder coexist, each holding space for the other. My work does not seek to resolve these contradictions, but to reveal their entanglement – the beauty and difficulty of living between that has been left behind and what has yet to come.

This series of ceramic sculptures examines the concept of unravelling as both a sculptural gesture and an emotion ...

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both relate to the uncertainty of becoming. Through precarious and intuitive handwork, I construct loose vessels in clay to question the paradox and tension between individuality and community. With inviting arches and forbidding angles, my sculptures capture moments of material wonder and connection in clay. The history of making plays a meaningful role in my process and drives my interest in the visual stories conveyed by inanimate objects. 

I am ever curious about the ways emotions colour moments in time and how the cherished and reviled parts of an experience reflect an inner landscape of transition. Paper clay subverts the meaning of “thin places” as points of weakness to prove a place of mysterious possibility. The ribbon-like strips of clay reference delicate systems, material versatility and elements of collage. 

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both rela ...

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both relate to the uncertainty of becoming. Through precarious and intuitive handwork, I construct loose vessels in clay to question the paradox and tension between individuality and community. With inviting arches and forbidding angles, my sculptures capture moments of material wonder and connection in clay. The history of making plays a meaningful role in my process and drives my interest in the visual stories conveyed by inanimate objects. 

I am ever curious about the ways emotions colour moments in time and how the cherished and reviled parts of an experience reflect an inner landscape of transition. Paper clay subverts the meaning of “thin places” as points of weakness to prove a place of mysterious possibility. The ribbon-like strips of clay reference delicate systems, material versatility and elements of collage. 

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both rela ...

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both relate to the uncertainty of becoming. Through precarious and intuitive handwork, I construct loose vessels in clay to question the paradox and tension between individuality and community. With inviting arches and forbidding angles, my sculptures capture moments of material wonder and connection in clay. The history of making plays a meaningful role in my process and drives my interest in the visual stories conveyed by inanimate objects. 

I am ever curious about the ways emotions colour moments in time and how the cherished and reviled parts of an experience reflect an inner landscape of transition. Paper clay subverts the meaning of “thin places” as points of weakness to prove a place of mysterious possibility. The ribbon-like strips of clay reference delicate systems, material versatility and elements of collage. 

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both rela ...

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both relate to the uncertainty of becoming. Through precarious and intuitive handwork, I construct loose vessels in clay to question the paradox and tension between individuality and community. With inviting arches and forbidding angles, my sculptures capture moments of material wonder and connection in clay. The history of making plays a meaningful role in my process and drives my interest in the visual stories conveyed by inanimate objects. 

I am ever curious about the ways emotions colour moments in time and how the cherished and reviled parts of an experience reflect an inner landscape of transition. Paper clay subverts the meaning of “thin places” as points of weakness to prove a place of mysterious possibility. The ribbon-like strips of clay reference delicate systems, material versatility and elements of collage. 

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both rela ...

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both relate to the uncertainty of becoming. Through precarious and intuitive handwork, I construct loose vessels in clay to question the paradox and tension between individuality and community. With inviting arches and forbidding angles, my sculptures capture moments of material wonder and connection in clay. The history of making plays a meaningful role in my process and drives my interest in the visual stories conveyed by inanimate objects. 

I am ever curious about the ways emotions colour moments in time and how the cherished and reviled parts of an experience reflect an inner landscape of transition. Paper clay subverts the meaning of “thin places” as points of weakness to prove a place of mysterious possibility. The ribbon-like strips of clay reference delicate systems, material versatility and elements of collage. 

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both rela ...

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both relate to the uncertainty of becoming. Through precarious and intuitive handwork, I construct loose vessels in clay to question the paradox and tension between individuality and community. With inviting arches and forbidding angles, my sculptures capture moments of material wonder and connection in clay. The history of making plays a meaningful role in my process and drives my interest in the visual stories conveyed by inanimate objects. 

I am ever curious about the ways emotions colour moments in time and how the cherished and reviled parts of an experience reflect an inner landscape of transition. Paper clay subverts the meaning of “thin places” as points of weakness to prove a place of mysterious possibility. The ribbon-like strips of clay reference delicate systems, material versatility and elements of collage. 

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both rela ...

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both relate to the uncertainty of becoming. Through precarious and intuitive handwork, I construct loose vessels in clay to question the paradox and tension between individuality and community. With inviting arches and forbidding angles, my sculptures capture moments of material wonder and connection in clay. The history of making plays a meaningful role in my process and drives my interest in the visual stories conveyed by inanimate objects. 

I am ever curious about the ways emotions colour moments in time and how the cherished and reviled parts of an experience reflect an inner landscape of transition. Paper clay subverts the meaning of “thin places” as points of weakness to prove a place of mysterious possibility. The ribbon-like strips of clay reference delicate systems, material versatility and elements of collage. 

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both rela ...

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both relate to the uncertainty of becoming. Through precarious and intuitive handwork, I construct loose vessels in clay to question the paradox and tension between individuality and community. With inviting arches and forbidding angles, my sculptures capture moments of material wonder and connection in clay. The history of making plays a meaningful role in my process and drives my interest in the visual stories conveyed by inanimate objects. 

I am ever curious about the ways emotions colour moments in time and how the cherished and reviled parts of an experience reflect an inner landscape of transition. Paper clay subverts the meaning of “thin places” as points of weakness to prove a place of mysterious possibility. The ribbon-like strips of clay reference delicate systems, material versatility and elements of collage. 

In this series, I explore themes of entanglement through material experimentation and metaphor, as they both rela ...

Cette pièce explore la reconstitution du corps et de perspective fragmentés par les protocoles de traitement du cancer et leur déplacement permanent de votre histoire.

Ces “contenants” en porcelaine émaillée enregistrent le dénouement de la guérison avec tous les défis et déceptions de la transformation. Cet ensemble de travaux est né d’un diagnostique de cancer du sein. Les mois de chimiothérapie promettaient d’entraver mon temps de studio et mon énergie créative. Il n’était pas certain que je puisse continuer à travailler en atelier, bien qu’on m’ait dit de quitter mon poste d’enseignant, d’annuler mon abonnement au gym et d’éviter les lieux publics pour l’année suivante. C’était tellement choquant, un peu comme la première fois qu’un nouveau-né vous réveille cinq fois en une seule nuit. Ensuite, une nouvelle routine s’installe et vous ne pouvez plus tout à fait distinguer la ligne qui sépare votre vie avant et après.

Cette pièce explore la reconstitution du corps et de perspective fragmentés par les protocoles de traitement du c ...

Ce travail est composé d’éléments en forme de bourgeon placés autour et au-dessus d’une construction angulaire en porcelaine construit avec les galettes durs. Les éléments en céramique changent de place chaque fois que la pièce est installée.

Cette série d’objets et d’installations explore l’idéalisme de l’enfance et du jeu, la tension entre la fantaisie et le risque telle qu’elle se joue dans les métaphores de l’équilibre, des pentes glissantes et des toupies. À l’origine de cette enquête, des intérêts convergents parmi le choc des idéaux chéris avec des vérités déplaisantes et un désir implacable de leur équilibre. Je m’intéresse au pouvoir des objets domestiques pour fixer, organiser et apaiser les subtilités et les complexités du rythme quotidienne des relations. Les objets domestiques sont les témoins intimes de l’équilibriste dans la vulnérabilité douce-amère de l’être. Enracinée dans l’association invariable de l’argile avec le délicat, l’œuvre explore des notions similaires de préciosité. Ce choix de matériau découle également de la capacité unique de l’argile à imiter d’autres matériaux ainsi qu’à archiver par la répétition de la fabrication et de la transformation des marques. Dans mon processus, les composants de l’argile sont soit tournés et modifiés, donnant des textures et des formes imaginaires; ou construit avec le galettes dures mettant en évidence des lignes nettes et définies. Le bois, le métal et les objets trouvés occasionnels superposent l’œuvre avec des ponctuations de stabilité et de représentation. Les éléments colorés s’empilent et s’équilibrent précairement contre les formes angulaires blanches qui imposent une impression de structure familière. Des étagères flottantes avec de nombreux pieds de support inutiles équilibrent des formes roulantes de porcelaine non émaillée présentant un sens de basculement, jouant avec les éléments colorés, possibilité d’extraction. 

Ce travail est composé d’éléments en forme de bourgeon placés autour et au-dessus d’une construction ...

Cette œuvre est composée de quinze éléments en forme de bourgeon placés dans, autour et au-dessus de deux constructions angulaires en porcelaine. Les éléments en céramique changent de place chaque fois que la pièce est installée.

Cette série d’objets et d’installations explore l’idéalisme de l’enfance et du jeu, la tension entre la fantaisie et le risque telle qu’elle se joue dans les métaphores de l’équilibre, des pentes glissantes et des toupies. À l’origine de cette enquête, des intérêts convergents parmi le choc des idéaux chéris avec des vérités déplaisantes et un désir implacable de leur équilibre. Je m’intéresse au pouvoir des objets domestiques pour fixer, organiser et apaiser les subtilités et les complexités du rythme quotidienne des relations. Les objets domestiques sont les témoins intimes de l’équilibriste dans la vulnérabilité douce-amère de l’être. Enracinée dans l’association invariable de l’argile avec le délicat, l’œuvre explore des notions similaires de préciosité. Ce choix de matériau découle également de la capacité unique de l’argile à imiter d’autres matériaux ainsi qu’à archiver par la répétition de la fabrication et de la transformation des marques. Dans mon processus, les composants de l’argile sont soit tournés et modifiés, donnant des textures et des formes imaginaires; ou construit avec le galettes dures mettant en évidence des lignes nettes et définies. Le bois, le métal et les objets trouvés occasionnels superposent l’œuvre avec des ponctuations de stabilité et de représentation. Les éléments colorés s’empilent et s’équilibrent précairement contre les formes angulaires blanches qui imposent une impression de structure familière. Des étagères flottantes avec de nombreux pieds de support inutiles équilibrent des formes roulantes de porcelaine non émaillée présentant un sens de basculement, jouant avec les éléments colorés, possibilité d’extraction.

Cette œuvre est composée de quinze éléments en forme de bourgeon placés dans, autour et au-dessus de deux constru ...

Cette pièce explore les changements envahissantes d’un traitement de chimiothérapie sur les aspects physiques et psychologiques de la vie quotidienne.

Ces “contenants” en porcelaine émaillée enregistrent le dénouement de la guérison avec tous les défis et déceptions de la transformation. Cet ensemble de travaux est né d’un diagnostique de cancer du sein. Les mois de chimiothérapie promettaient d’entraver mon temps de studio et mon énergie créative. Il n’était pas certain que je puisse continuer à travailler en atelier, bien qu’on m’ait dit de quitter mon poste d’enseignant, d’annuler mon abonnement au gym et d’éviter les lieux publics pour l’année suivante. C’était tellement choquant, un peu comme la première fois qu’un nouveau-né vous réveille cinq fois en une seule nuit. Ensuite, une nouvelle routine s’installe et vous ne pouvez plus tout à fait distinguer la ligne qui sépare votre vie avant et après. 

Cette pièce explore les changements envahissantes d’un traitement de chimiothérapie sur les a ...

Cette pièce explore la notion de guérison en ce qui concerne la longévité de l’apprentissage.

Ces “contenants” en porcelaine émaillée enregistrent le dénouement de la guérison avec tous les défis et déceptions de la transformation. Cet ensemble de travaux est né d’un diagnostique de cancer du sein. Les mois de chimiothérapie promettaient d’entraver mon temps de studio et mon énergie créative. Il n’était pas certain que je puisse continuer à travailler en atelier, bien qu’on m’ait dit de quitter mon poste d’enseignant, d’annuler mon abonnement au gym et d’éviter les lieux publics pour l’année suivante. C’était tellement choquant, un peu comme la première fois qu’un nouveau-né vous réveille cinq fois en une seule nuit. Ensuite, une nouvelle routine s’installe et vous ne pouvez plus tout à fait distinguer la ligne qui sépare votre vie avant et après.

Cette pièce explore la notion de guérison en ce qui concerne la longévité de l’apprentissage.

Ces “c ...

Cette pièce explore l’idée d’acceptation et d’abandon nécessaire pour faire un choix non désiré.

Ces “contenants” en porcelaine émaillée enregistrent le dénouement de la guérison avec tous les défis et déceptions de la transformation. Cet ensemble de travaux est né d’un diagnostique de cancer du sein. Les mois de chimiothérapie promettaient d’entraver mon temps de studio et mon énergie créative. Il n’était pas certain que je puisse continuer à travailler en atelier, bien qu’on m’ait dit de quitter mon poste d’enseignant, d’annuler mon abonnement au gym et d’éviter les lieux publics pour l’année suivante. C’était tellement choquant, un peu comme la première fois qu’un nouveau-né vous réveille cinq fois en une seule nuit. Ensuite, une nouvelle routine s’installe et vous ne pouvez plus tout à fait distinguer la ligne qui sépare votre vie avant et après.

Cette pièce explore l’idée d’acceptation et d’abandon nécessaire pour faire un choix non désiré ...

Ce travail subvertit la notion de jeu et de plaisir avec l’ajout d’éléments déplacés, comme des lames de scie, pour remettre en question l’idéalisme du jeu comme innocent, éducatif et inoffensif.

Cette série d’objets et d’installations explore l’idéalisme de l’enfance et du jeu, la tension entre la fantaisie et le risque telle qu’elle se joue dans les métaphores de l’équilibre, des pentes glissantes et des toupies. À l’origine de cette enquête, des intérêts convergents parmi le choc des idéaux chéris avec des vérités déplaisantes et un désir implacable de leur équilibre. Je m’intéresse au pouvoir des objets domestiques pour fixer, organiser et apaiser les subtilités et les complexités du rythme quotidienne des relations. Les objets domestiques sont les témoins intimes de l’équilibriste dans la vulnérabilité douce-amère de l’être. Enracinée dans l’association invariable de l’argile avec le délicat, l’œuvre explore des notions similaires de préciosité. Ce choix de matériau découle également de la capacité unique de l’argile à imiter d’autres matériaux ainsi qu’à archiver par la répétition de la fabrication et de la transformation des marques. Dans mon processus, les composants de l’argile sont soit tournés et modifiés, donnant des textures et des formes imaginaires; ou construit avec le galettes dures mettant en évidence des lignes nettes et définies. Le bois, le métal et les objets trouvés occasionnels superposent l’œuvre avec des ponctuations de stabilité et de représentation. Les éléments colorés s’empilent et s’équilibrent précairement contre les formes angulaires blanches qui imposent une impression de structure familière. Des étagères flottantes avec de nombreux pieds de support inutiles équilibrent des formes roulantes de porcelaine non émaillée présentant un sens de basculement, jouant avec les éléments colorés, possibilité d’extraction.

Ce travail subvertit la notion de jeu et de plaisir avec l’ajout d’éléments déplacés, comme des lames ...

Ce travail subvertit la notion de jeu et de plaisir avec l’ajout d’éléments déplacés, comme des lames de scie, pour remettre en question l’idéalisme du jeu comme innocent, éducatif et inoffensif.

Cette série d’objets et d’installations explore l’idéalisme de l’enfance et du jeu, la tension entre la fantaisie et le risque telle qu’elle se joue dans les métaphores de l’équilibre, des pentes glissantes et des toupies. À l’origine de cette enquête, des intérêts convergents parmi le choc des idéaux chéris avec des vérités déplaisantes et un désir implacable de leur équilibre. Je m’intéresse au pouvoir des objets domestiques pour fixer, organiser et apaiser les subtilités et les complexités du rythme quotidienne des relations. Les objets domestiques sont les témoins intimes de l’équilibriste dans la vulnérabilité douce-amère de l’être. Enracinée dans l’association invariable de l’argile avec le délicat, l’œuvre explore des notions similaires de préciosité. Ce choix de matériau découle également de la capacité unique de l’argile à imiter d’autres matériaux ainsi qu’à archiver par la répétition de la fabrication et de la transformation des marques. Dans mon processus, les composants de l’argile sont soit tournés et modifiés, donnant des textures et des formes imaginaires; ou construit avec le galettes dures mettant en évidence des lignes nettes et définies. Le bois, le métal et les objets trouvés occasionnels superposent l’œuvre avec des ponctuations de stabilité et de représentation. Les éléments colorés s’empilent et s’équilibrent précairement contre les formes angulaires blanches qui imposent une impression de structure familière. Des étagères flottantes avec de nombreux pieds de support inutiles équilibrent des formes roulantes de porcelaine non émaillée présentant un sens de basculement, jouant avec les éléments colorés, possibilité d’extraction.

Ce travail subvertit la notion de jeu et de plaisir avec l’ajout d’éléments déplacés, comme des lames ...

Ce travail est composé de plusieurs éléments en céramique ainsi que de bois coupé et de lames de scie réutilisées. Les grandes sculptures architecturales en porcelaine sont fabriquées à la main avec les galettes dures comme du cuir et non émaillées. Les plus petites pièces en forme de bourgeon sont tournées à la main puis modifiées, en appliquant une texture et des sous-glaçures colorées. Les supports en bois sont conçus à la main pour imiter les éléments architecturaux précaires des murs, des coins et des arches et les intégrer dans le récit de l’installation. Les pieds de la table sont fixés avec des aimants pour encourager l’angle impossible et la fonction de tant de pièces tordues.

Ce travail est composé de plusieurs éléments en céramique ainsi que de bois coupé et de lames de scie réutilisées ...