Artist Statement

    My practice centers on figurative bronze sculpture and photography as investigative tools for examining vulnerability, power, and bodily agency.  Through sustained material engagement and process-intensive methods, I explore how personal experience, cultural systems, and physical form intersect, often focusing on subjects that exist at the margins of social visibility.

Much of my sculptural work is grounded in lost-wax bronze casting, a medium I am drawn to for its historical weight, physical demands, and capacity for nuance in surface and form.  Recent bodies of work, such as the Maiden Fragment series, employ direct casting from the human body to examine the tension between confidence and insecurity, presence and absence.  By fragmenting the figure and isolating specific bodily forms, I aim to create objects that function simultaneously as index, metaphor, and psychological portrait.  Repetition within this series allows subtle variation to become a form of inquiry, revealing how meaning shifts through material, scale, and surface treatment.

    Alongside sculpture, photography plays a complementary but distinct role in my practice. Working primarily within environments connected to sex work and adult entertainment, my photographs are informed by long-term proximity and relational access rather than detached observation.  These images often adopt a painterly or staged sensibility, using light and composition to complicate assumptions about desire, agency, and spectacle.  While the camera performs the act of rendering, my focus shifts toward questioning what produces emotional or psychological resonance within an image and how viewers negotiate intimacy with photographic subjects.

    An investigative mindset underpins both mediums.  My background in observational drawing and years working as a licensed private investigator have shaped how I approach looking, research, and interpretation.  This dual training has reinforced a disciplined attentiveness to detail while also sharpening my awareness of bias, projection, and subjectivity.  In the studio, this manifests as a continual negotiation between objectivity and emotional investment—between analytical distance and embodied experience.

    Rather than beginning with declarative concepts, my work allows meaning to emerge through labor, repetition, and material resistance.  I am interested in how form, surface, light, and composition operate together to carry conceptual weight without subordinating the physical intelligence of object making.  This approach positions my practice within a process-driven, materially grounded mode of inquiry that values both perceptual rigor and critical reflection.