I am a Boston-born, Rhode Island-based artist. Using a variety of media, I attempt to explore the relationship of organic and inanimate materials, the monstrous, and the uncanny. 

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Harpy is a departure from much of the other work I’ve been recently exploring. For one, it's representational, and was modeled while referencing classical English gargoyles. It also comes from a more explicitly emotional place than some of my more abstract work. During its construction, I was personally deeply frustrated by a number of things, which could be summed up as feeling powerless to my circumstances. I was able to articulate those emotions through this piece. It's an extension of myself.

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I'm hugely inspired by our relationship to our constantly changing world, in a technological sense as well as an environmental one, and how we navigate space therein. 

 

Most recently, I’ve been particularly focused  on  exploring the relationship between abandoned, often post-industrial spaces and architecture and their relationship with the organic, natural world that is reclaiming those places. In my sculpture, I evoke this by modeling and abstracting forms that are informed by the aforementioned themes, exploring how theseshapes grow out and influence of one another.

 

Harpy's colors and patterns were influenced by digital media and technology. I was looking at things like circuit boards, blue screens, and pixelation patterns as inspiration. I find these things very beautiful, but am also interested in how they look juxtaposed on more organic, emotional forms and images. I do these by hand, as opposed to using decals or stencils, because I like maintaining the imprecise quality of my touch, especially when using a visual vocabulary that isn't that at all. 

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I explore the uncanny as the subversion of 'normalcy', expectation, and reality. This piece deals with the expectation of the human form, in the qualities of the body that are assumed to be there, versus what parts are missing or excess.