The conceptual interests that shape my practice are based on science, pseudo science, science fiction and fantasy. These interests form the lens through which choices can be made in response to global warming and the loss of biodiversity in the ecosystems. It is from this lens that I build a conceptual framework that drives my current response to environmental degradation and species loss in my work. The plant-like sculptures that I make represent a fantastical, imaginary moment in future geologic time and I envision them emerging from a dystopian landscape, in a time after a global mass extinction. They are a fragile new species re-emerging, evolving and mutating to adapt like science fiction characters in a post-human and unstable climate. They are a result of post human activities that have created a toxic and unstable environment. The sculptures evoke the resilience of nature as well as ecological processes.
Handmade paper and bamboo are my primary source materials and play a fundamental role. The organic nature of paper and its unlimited reservoir of transformation continue to inform my work. I construct the armatures for my sculptural forms from bamboo and lay freshly made paper over them like a skin. Sometimes I’ll incorporate dried plant materials that I gather from around the area where I live as well as repurposed junk mail. Using handmade paper is a metaphor for the impermanence of nature and the incorporation of junk mail speaks to the extraordinary amount of waste that is sent to landfills on a daily basis.
Non-Resident Studio Advisors: Lauren Fensterstock, Tim Gaudreau
1. Rubio Buxifolius, 2013, Handmade paper, bamboo, acrylic and natural pigments, 48″x 52″ x 60”
2. Morte Verdi, 2013, Handmade paper, bamboo, sisal, acrylic pigments, 13” x 29” x 38”
3. Brassicia Oeracea, 2013, Handmade paper, bamboo, dye, 24” x 20” x 19”
4. Koleodepus Cavus, 2013, Handmade paper, bamboo, 29” x 19” x 19”
5. Serracinia, 2013, Handmade paper, bamboo, acrylic pigment, 20” x 16” x 18”