what i love in particular about sculpture more tha any of the fine arts, is that there is a much more intimate conversation which happens between the work and the viewer. you are subconsciously encouraged to interact with it - walk around it, perhaps touch or smell it - sculpture is beyond viewing from a single angularity. you are invited to participate in an act; you are driven to dive deeper into it by way of movement. painting, drawing, photography and literature call on the participant to dissect in different ways - all unique to their own mediums - through words, through the literal capture of an emotion or moment in time, through the realist depiction of what we know from the lens of someone else’s perception. the common thread between them all is the ease of their accessibility - at any point in life, one can create and express through these mediums without much limitation. sculpture, however, requires a large space to not only make them, but to house them; you have to have the right environment. i call this, “the sculptural limitation”. in a poetical sense, it is a loyal long distance lover whom you can’t always be acquainted with because of situational divide; you are locationally limited in the ability to see each other whenever you want. a beautiful dichotomy is at play between freedom and reliability; you are both able to be individuals while still connected by the knowledge at the end of the day that you are the other’s.

i chose steel as my specific material for these sculptures during the three year period of 2013-2016, because i was intrigued by this seeming dichotomy as well as the confines of only being able to create in the welding studio and nowhere else; if i had an idea for what my next sculptural piece would be, i was forced to have self control and satisfy my hunger with a sketch of it on paper - giving me only a momentary taste of the idea. in a way, the medium seduced me. the danger - the fire, electricity and heat - involved in the act of fusing together the steel required a vulnerability that was unfamiliar to me with other mediums. it was through my prior formal training in philosophy that i was able to to insert soft meaning into a hard, utilitarian aesthetic.