Conditions of the human body, conceptsof sexuality, and the connection between surface and form have guided my work.In all of my sculptural series, there is tension between the surface treatmentand the physical shapes. Each sculpture lures viewers with sensual curves andsilhouettes that tease intimate nakedness made of pieces molded from differentbodies and combined to make forms that are both abstractly ambiguous and individuallyfigurative. The essential response to the abstracted human forms was an unconsciousattraction that defies hetero-normative cultural norms and rather incited,directly through form, theories of gender and sexual fluidity.

I use the method of molded body partsto create abstract forms, however, glaze became an actor that added anotherallegorical dimension. Thick and viscous glaze was poured and fired to a point thatfroze the melting action as it interacted with each sculpture. On some pieces,the glaze enacts a powerful, directional suspension opposite to the forms’stature, and in others, the glaze pools and drips over parts of the form asresidue of an unseen performance. Each sculpture of the series has a uniquerelationship with the glaze that partners with it. Some pieces are coded incomplimentary colors which touch on social color associations for gender andidentity. The red colored pieces with an opaque, uncolored frit glaze refer to myindividual identity. I was labeled ‘red’ as a way to visually distinguish mefrom my ‘blue’ identical twin.

My sculptures are simplified shapesthat create complex silhouettes, explore tension between ambiguity andindividuality, and challenge the illusionary distinction between gender andsexuality.

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