Artist Statement
My work explores an array of linguistic concepts. I am interested in relationships between
familiar shapes and objects presented in a slightly unfamiliar way. Because basic geometric
shapes are often devoid of inherent identity, thus providing a clean slate, I can choose their
identity by the way I bring them together in one object or a series of objects. I am attracted to
balance, not necessarily order, but the right balance achieved spatially between shapes.
Similarly to the way language works and the choices we make with our speech, I use the
vocabulary of shapes to create my own language of objects. The set of vocabulary I draw from
is basically the same every time; what differs is the way I choose its orientation and
connection toward one another.
One of the most important components of my work is the awareness of the internal structure
of things. This interest stems from the other area of my life that is significant to me: linguistic
research, where the underlying or hidden structure of language is what can give us clues as
to what we see on the surface. When working on my sculptures, I always think about their
internal structure, what the structure is and what it could be, since I am the one who assigns
it. Because the internal structure can only be known to me, thus hidden from the viewer, I
transfer and represent my idea of internal structure to the outside of a piece, to the surface of
the form. I do this in such a way that each piece has several viewing points, one of them
being the optimal viewing point and the others providing additional details. It is these details,
which cannot always be seen from the optimal viewing point that I think of as the internal
structure of my work. They are not visible at a first glance, but once they become known, they
provide the viewer with a form of x-ray vision or a memory trace that completes the piece. It is
at this point that both internal and external structures are known, one informing the other.
My work explores an array of linguistic concepts. I am interested in relationships between
familiar shapes and objects presented in a slightly unfamiliar way. Because basic geometric
shapes are often devoid of inherent identity, thus providing a clean slate, I can choose their
identity by the way I bring them together in one object or a series of objects. I am attracted to
balance, not necessarily order, but the right balance achieved spatially between shapes.
Similarly to the way language works and the choices we make with our speech, I use the
vocabulary of shapes to create my own language of objects. The set of vocabulary I draw from
is basically the same every time; what differs is the way I choose its orientation and
connection toward one another.
One of the most important components of my work is the awareness of the internal structure
of things. This interest stems from the other area of my life that is significant to me: linguistic
research, where the underlying or hidden structure of language is what can give us clues as
to what we see on the surface. When working on my sculptures, I always think about their
internal structure, what the structure is and what it could be, since I am the one who assigns
it. Because the internal structure can only be known to me, thus hidden from the viewer, I
transfer and represent my idea of internal structure to the outside of a piece, to the surface of
the form. I do this in such a way that each piece has several viewing points, one of them
being the optimal viewing point and the others providing additional details. It is these details,
which cannot always be seen from the optimal viewing point that I think of as the internal
structure of my work. They are not visible at a first glance, but once they become known, they
provide the viewer with a form of x-ray vision or a memory trace that completes the piece. It is
at this point that both internal and external structures are known, one informing the other.
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