My work is grounded in the material intelligence of the natural world, exploring how sculpture can act as a bridge between physical matter and abstract systems of understanding. I am interested in the tension between idealized forms such as mathematical or geometric structures and their imperfect realization in the material world. In particular, I think about Plato’s Theory of Forms as a lens for sculpture, the idea that perfect abstraction exists beyond the physical while matter itself remains unstable and in flux. My work explores the space between these conditions.
Working with ceramics, metal, and environmentally supportive cements, I approach making as a way of studying chemistry, physics, and ecology through direct physical engagement. I am drawn to the underlying structures that organize the natural world and the ways gravity, heat, pressure, and time leave visible traces within a material. Crystallization, erosion, binding, fracture, and decay carry both physical and emotional weight in the work, where process and metaphor become inseparable through the behavior of the material itself. My practice is driven by a sense of wonder and a search for transcendence through the hand’s contact with matter. Cracks, structural shifts, and points of failure feel especially poignant to me because they expose the distance between ideal form and lived reality.
Much of my practice is informed by ecological and geological processes, particularly those of coastal Louisiana, where land is continuously formed through water current and sediment distribution. I am interested in how large-scale environmental processes mirror microscopic ones and how biological and inorganic forces shape one another over time. My use of materials such as lime, crushed shell, hemp, and recycled glass extends this inquiry into physical form, allowing the origins of the material to remain visible through its transformation.
Architectural elements such as bridges and arches appear throughout my work as structural references and conceptual models. These forms suggest stability and engineering precision, yet in my practice they are shaped by material drift. I am drawn to how even the most rational structures rely on a margin for error, and how both built and natural forms depend on a careful balance to remain standing.
Underpinning this is an interest in the historical overlap between art and science. I am inspired by a time when philosophical inquiry and scientific research were not separated disciplines. My work revisits that convergence through sculpture as a way of thinking through cosmology, ecology, and the laws that govern matter itself. The work is shaped by the same physical laws as the natural world
The studio functions as a site where ideal form is tested against physical resistance, held between structure and entropy. In a post-industrial context, the work turns toward older forms of material awareness shaped by coexistence with natural environments. The sculptures act as sites of ecological intervention, functioning as built structures that support the regeneration of biological life in environments impacted by extraction.