Sculptures

2020-Present

“This hollow cave is now stained by our family and my family before us….This home has soured...”- Esme

“If we are all echoes of each other, which one of us is the source” - Oli

“This house is alive, however its breath is escaping. Its being replaced with something else.”- Stanton

“Is it better to be at home in exile or in exile at home?” - Vi Khi Nao, Fish In Exile

Our House Swallows Moths is an almanac composed of 48 primarily handmade fragments from the timeline of a four-person family. This family portrait surveys the cyclical nature of time as moments oscillate between mundane and poignant and echoes of experience lose their origin in this sculptural poem.
Shifting between the tangible and the psychological; scale and medium; and handmade and ready-made, Our House Swallows Moths presents the viewer with a Promethean-like experience. The viewer breathes life into the sculpture, blurring the lines between fiction and reality as authenticity is challenged. This confusion opens room for germination, in which an intangible life is able to take root as the nooks and crannies of feeling human merge with shared experiences.

Our House Swallows Moths

Year: 2021-2024
Materials: hand-cast tin, wood, cotton, dryer lint, nylon, resin, aluminum, wire, scritta, rice paper, plaster, Rockite, porcelain, ceramic, polymer clay, latex, wax, starling pelt, Stephanie's hair, dried fig, soil, acid brush, expandable foam, Band-aid, Arduino, LEDs, speakers
Dimensions: Variable

“This hollow cave is now stained by our family and my family before us….This home has soured...”- Esme

“If we are all echoes of each other, which one of us is the source” - Oli

“This house is alive, however its breath is escaping. Its being replaced with something else.”- Stanton

“Is it better to be at home in exile or in exile at home?” - Vi Khi Nao, Fish In Exile

Our House Swallows Moths is an almanac composed of 48 primarily handmade fragments from the timeline of a four-person family. This family portrait surveys the cyclical nature of time as moments oscillate between mundane and poignant and echoes of experience lose their origin in this sculptural poem.
Shifting between the tangible and the psychological; scale and medium; and handmade and ready-made, Our House Swallows Moths presents the viewer with a Promethean-like experience. The viewer breathes life into the sculpture, blurring the lines between fiction and reality as authenticity is challenged. This confusion opens room for germination, in which an intangible life is able to take root as the nooks and crannies of feeling human merge with shared experiences.

Accidental Remnants explores the rearrangement of existence by creating a work that exists entirely in the viewer's mind. Viewers are presented with the concept of the “wandering viewpoint”, situating them within the surreal timescape as they shift between points of view, becoming voyeurs, the assemblage’s walls, and its inhabitants. Spectators transform into participants, thus becoming the work as they are invited to sit on the pedestals surrounding the three-dimensional floor plan.
Composed of hand-made objects, fragments of the domestic fluctuate in scale, material, and style. Inconsequential on their own, meaning is derived from their collection and conversations with one another as the sculptural components transcend from trash and debris into a miniature mise-en-scène.
Viewers are required to fill in the missing spaces with their personal memories and experiences as they make their own meaning of the work. As the sculptural reverberations are pieced together, a life and site that once was, is, and could be is formed within the viewer’s mind. Only then is the sculpture complete.
With no fixed arrangements, Accidental Remnants is designed to constantly take on different iterations as the hand-made objects can be installed differently each time, generating diverse and ever changing interpretation

Accidental Remnants

Year: 2024
Materials: tin, expandable foam, beeswax, resin, fabric, denim, Henry's sports coat, walnut, cypress, plywood, wax paper, tinfoil, polymer clay, ceramic, plastic, down feathers, thimble, soil from the Joan Mitchell center
Dimensions:

Untitled (Ahh Life)

Year: 2023
Materials: tin, cotton, wood, nylon, resin, wire, scritta
Dimensions: 4 1/4" x 6" x 3 1/'8"

S: Hey, Josh-boy, how much is a doom?

J: A doom?

S: Ya

J: A what?

S: A doom

J: A doom?

S: Ya

J: It’s uhm....I uh...I don’t know. I’m sorry.

S: .... Look....how much is a doom?

J: Dude...a DIME

S: Dime?

J: Yes

S: Ahhhhh, diiiime...How much is a diiiime?

J: The laundry machine doesn’t take dimes.

S: God damnit........

S: Ahhh life

Worn down underwear collecting the warmth of rust, Ahh Life is a splinter of time. The miniature work invites viewers into an intimately private moment provoking our voyeuristic desires. Ahh Life seeks to describe, rather than to explain, life's microcosms- a small gaze, which feels poignant but is lost to a succeeding moment. There are no ready-mades used. There is a degree of wonkiness animating each component, creating an intimate sculpture endowed with emotional weight.

Untitled (Ahh Life)

Untitled (Ahh Life)

Untitled (Ahh Life)

Untitled (Ahh Life)

The Custodian Of The Ephemeral

Year: 2023
Materials: tin, porcelain, wood, foam, polymer clay, pube, resin, cotton, nylon, plaster
Dimensions: Variable

Custodian Of The Ephemeral

The boundaries between fiction:reality, presentation:representation, participant:spectator, converge as the viewer’s own histories, associations, and memories are shared with the installation. The Custodian Of The Ephemeral is a portrait comprised of handmade sculptures, miniature and life-like, of daily objects used regularly by this individual. The life behind this portrait is slowly revealed to the viewer as they create a narrative grounded by the familiarity of the objects.The voyeur slowly becomes the voyee corrupting the relationship between the individual and the work creating a disorienting space of connection and estrangement in which a shared portraiture can transpire.

Custodian Of The Ephemeral

Custodian Of The Ephemeral

Custodian Of The Ephemeral

Custodian Of The Ephemeral

Custodian Of The Ephemeral

Custodian Of The Ephemeral

Custodian Of The Ephemeral

Custodian Of The Ephemeral

Custodian Of The Ephemeral

Custodian Of The Ephemeral

Custodian Of The Ephemeral

I Can Hear Your Dirt

Year: 2022
Materials: wood, polymer clay, resin, porcelain, expandable foam, string, fabric, dna, tallow, wax carpet, insulation, cotton, LEDs, Arduino, mirror, plaster, soil, acrylic
Dimensions: Variable

I Can Hear Your Dirt

The boundaries between fiction:reality, presentation:representation, participant:spectator, converge as the viewer’s own histories, associations, anxieties are shared with the installation. I Can Hear Your Dirt is a narrative installation comprised of miniature sculptures and their larger scaled cross-sections . Through the use of coding and LEDs time is both slowed-down and suspended.The viewer is able to fantasize themselves within this fictional life while still grounded by the residual familiarity puckishly creeping its way throughout work. The voyeur slowly becomes the voyee corrupting the relationship between the individual and the work creating a disorienting space of connection and estrangement in which a shared portraiture can take place.