Are there themes or ideas that you regularly explore through your work?
I’m not sure I’d call them themes. I would say that my process is what dictates my work. What is inside is personified in the forms that I make. All my forms are soft, not measured, nongeometric, organic female life forces. When you look at my sculptures, you see my core-my inner being. When a sculpture is complete, it is a visceral feeling. I feel deep inside that it works (and if it doesn’t, I can go back to it, sometimes years later, to adjust it). I am interconnected with each sculpture I’ve made, they are all a part of me, and hence they are precious and unique. Anyone who purchases a sculpture from me commits to caring for that sculpture.
You reference your family and unique family history as a key influence on your work. Can you tell us more about this and how it manifests through your practice?
Referencing my family in my work was a gradual process. It started with the first sculpture I created after the loss of my father. I created an expression of how I was feeling, a sculpture with emotion and my feelings embedded in it. That sculpture was Genesis I, the first of a triptych of sculptures I created over two years. Genesis I consists of three rounded interlocked forms that gently intertwine to make a beautiful whole. I was one of three siblings, so I felt three was a good number.
It is a sculpture that conveys love, support, togetherness, and soothing calmness. It was this feeling of calm and tranquillity I wanted to convey at the loss of my father, to whom I was very close. He loved me unconditionally. He was my best friend and was the one I always turned to for advice. I found that even after losing someone you love so deeply, that deep sense of self and the belief they had in you strengthens you.