I focus largely on organic, flower-like forms. I use these forms to explore the connection between nature and femininity. I combine soft, undulating, and sublime curves, with strong rhythmical pattern. There is something intriguing about the flower; a symbol of delicate fragility, and yet it can be an incredible statement of strength. This dichotomy is what I believe to be so fascinating and beautiful. I am inspired by the use of the flower in other cultures, and what it represents to them. I find organic forms meditative and spiritual; therefore I am particularly interested in the use of the flower in eastern religions. I also take interest in how the plants relate to my own personal femininity, and cultural ideals of beauty.
This current body of work, Pluerotus Supellex, is an investigation of my love and fascination with fashion, design, decoration and the line between beauty and excess. Within this work I also contemplate ideas about what beauty is, how it is defined, and why it is important.
The ceramic component of this work, the growths, are seemingly benign and passive life forms that are slowly overgrowing, enveloping, and taking over the space. By using forms that reference fungi, plant and sea life, as well as flowers and the female body in conjunction with the old, antiquated, beat up furniture I am discussing a merging of two temporal spaces, the past, or dead space, and the present, or living space. Therefore the furniture is a remnant, and in a past space, more of a memory. This memory, or ghostly presence is being confronted by the idea of what is living, and what has yet to pass, because the plant-like forms are moving through more of a present and future space. In placing the pieces on pedestals, I want them to appear as though they have been removed from the space they once were in and have been placed on display as artifacts.