2007
My work is concerned with embodying tensions.
We are caught in different scales of time and space; a thrilling and disquieting perspective that is constantly present in my mind. As is the awareness that human beings relate to their own planet in different ways, fluctuating between concern and neglect, pleasure and indifference. They live in an infinite universe, but rarely think about it, and mostly focus on spaces and times they can relate to.
I make sculptures and installations that often suggest what it feels like to witness the kinetic beauty of the Earth’s destruction.
The microcosm I am building is inhabited by abstract compositions, landscapes and strange creatures related to layered memories. It often suggests a micro-chaos – for the boundary between chaos and cosmos can become blurred, depending on the scale and perspective with which we look at things and events. This is the very transition I am interested in.
When working with ceramics, I use a large palette of clays and minerals, and the firing is assigned a crucial role: it is expected to disrupt that which I have carefully constructed.
In building the pieces and using components which are likely to melt or warp, I try to orchestrate the upheavals that the firing can bring. Once a piece is removed from the kiln, it is extracted from its container if I have been using one, then ground or carved, and sometimes combined with other media. In this way I seek to enhance the way the components moved during the firing.