Clay is a material that demands patience, nurturing, and understanding. It is a material that by its organic nature will not always comply with the hand of the maker. In this way the artist must learn to work with the material, not against it. Clay at its very core is a physical record of the artist. The touch of the hand, mark of a tool, and shift in weight of the body are all recorded in the material. An everlasting screenshot of the method and fingerprint of the artist. Ceramic is a medium that will outlive its maker. It is a material of permanence and of great stability and allows its forms to exist for a lifetime.
With clay, my process in handbuilding is hollow coil building. This method allows me to build at a steady, slow pace without having to disassemble and hollow out my form once it is finished. It, likewise, allows me a certain extent of control and flexibility with the material. I push the forms from within instead of having to solely rely on exterior sculpting and continuous addition of clay.
Glass exists on a similar platform as clay. My technique in glass is casting. Most of my sculptures begin with a clay form that I make molds of and can either cast in glass or continue to manipulate by way of wax alterations. In this way glass has endless potential. Opposed to clay, glass, though in appearance it is strong and durable, is a medium steeped in fragility. Though glass will never dissipate, it is easily broken. This gives my pieces a sense of caution, of care, of a need to protect the forms from harm.
My artwork deals primarily with the human figure, the complexities both physically, and socially inherited, that the form represent. My sculptures are representations of the social constructs' which dictate our appreciation for physical aesthetics and beauty. In my work I am evaluating the connections of the form to self worth and an emphasis on body language, expression, juxtaposition of opposing forms, and physical relationships. I look upon the ideals that we are raised on as accepted instruments of beauty, and how those correlate to modern men and women and their views on their bodies and of physical beauty. Through my work I can lend a voice to the unspoken concerns of body shaming and damaging body standards set by media and perpetuated throughout history and contemporary society. My forms show that all bodies are perfection in their design and that as humans of varying shapes and sizes we are all our own ideal beauty.