Paint and the physicality of paint began to interest me and the paintings I was producing were extremely thick with paint – this quickly cost me a fortune in supplies. I decided to use spray foam to create the illusion of thick paint on the surface as a way to fix this costly problem; but the foam surprised me in how diverse and fun it was to work with, and so naturally my work started to come off the canvas.
What materials do you use and how do you assemble the pieces?
I use some type of panel or frame to start with and then begin to spray foam on the surface, I will continue to build up the foam and add fabric on top of it, let it dry, repeat etc. I then will use cake decorating tools to pipe paint on the surface. I use an airbrush as well to create a patina-type affect.
How would you classify your sculptures? What kind of style?
I like to think of my sculptures as “painting sculptures”.
Why do you use different color sequences and what is the meaning?
Color is really important in my work. I think the color palletes I use bring a sense of familiarity to the work. For example, the new work I have been making are all very light and airy, covered in mainly pastels. They feel feminine or playful, but the shape itself is alien and grotesque. I love that strange dichotomy. I like to make the viewer feel uneasy or uncomfortable with my work, but the palette I use is a bit more inviting or accepting.
What kind of underlying message would you like to convey with your artwork?
I want the work to feel visually stimulating so much so that it causes the viewer to want to engage with it on a physical level. The first thing people ask me when visiting my studio is, “Can I touch your artwork?” Haha. I don’t want the work to be boring or a quick read, I love when you can spend hours with a piece and discover new parts you weren’t necessarily seeing before… that’s what I hope to achieve with my work.
What compels you to create and what kind of artistic legacy do you want to leave?
I think artists were born “makers”. I will always find a way to make new work until I physically cannot. I think it’s just how artists are wired. I hope looking back on my career decades from now I can be proud of the sacrifices I’ve made to continue my practice, but what is even more important to me is the community I’ve built around me and cultivating artist relationships. For me, community is everything and I hope that decades from now I will still be surrounded and supported by such fantastic artists as I am now.