These sculptures are about line, texture, mass, and form. By reducing or eliminating visual cues, the resulting objects refer to themselves and quietly bring attention to the phenomena of objecthood.

Metal coat hangers are burned red-hot, cooled and hammered straight, then re-bent into various shapes. Although the resulting metal rods are objects, they reference the elemental lines of a drawing. Discolored construction plaster fills negative spaces, emphasizing mass while also appearing as a flattened, two-dimensional drawing. The tarnished metal rods and yellowed plaster suggest imperfection, aging, and impermanence.

Similar to a single musical note being the basis for complex melodies, these sculptural moments embody simple gestures or small equations of how all objects appear as they do.

Utilizing line, mass, surface, and shadow, as well as placement within a particular room or space, I strive to discover a synergy in the object. In this manner perceptual principles as well as material form are recognized players in the hierarchy of my sculptural meaning-making.

These works offer an intimate engagement with the physical world, finding objecthood in the way color usually finds emotion.