Most recently I am exploring sculptural processes as models of multi-dimensional thinking and negotiation. Sculpture-making demands the ability to merge the abstract, the literal and the practical. A sculptor has to negotiate constantly between her concepts, their practicality as real-world existence (physics) and their relationship to the rest of the world (architectural, semantic and ethical, for example). Sculpture requires the ability to know how to fit things together, how to problem solve and how to orchestrate elements within a whole that reflects the structure of the artist’s ideas.
My interest in this fluidity, or “plasticity” as mode of sculpture is developed out of my decade-long research of plastic as a phenomenon in contemporary society.