My studio practice involves exploring the boundaries of figurative art and mold making, an avenue I’ve been exploring for the past 6 years.  I have always enjoyed the psychology of how we as the viewers perceive figurative objects, in that we project our own ideas about human nature onto them. In my most recent work I have investigated how much of the figure is needed in order for the viewer to still have an emotional or psychological response to an object.


By obscuring parts of the figure I negate certain expectations we often have in relation to the human form, such as presenting busts where the face is covered, or presenting a full figure where little is visible apart from hands and the lower legs. In doing this, my aim is to directly confront the viewer’s expectations and relationship with viewing both figurative art objects as well as people in general. I’ve been implementing experimental mold-making techniques and materials in order to explore these ideas. 

I am always trying to hone my craft when it comes to creating realistic life like figures but also am fascinated with exploring new casting materials and methods. Most recently I have begun to incorporate other iconography to function for intangible emotions or ideas. Objects now stand in for psychological struggle; finger puppets become an army of anxiety and cause us to question the historically problematic nature in which we discuss mental health, specifically female “Hysteria”.

I enjoy examining my role in the manifestation of defense mechanisms onto the figure. By asserting my role as the creator I can begin to create my own mythology in which I have the power to transform those who have affected me or society in general. In this way I can begin to blur the lines of how the figures are perceived, neither victim nor perpetrator, all lying in limbo between sinners and saints.