My art is about romanticizing heartbreak; searching for elegance within dishevelment. The human experience, most of the time, does not reflect rainbows. However, I believe the human experience is the most beautiful thing we have the privilege of undergoing. Forgiveness, faith, love; there is a drought of this in our world. If you romanticize the melancholy, your heart will open up more than it would if you rejected it. My idea is not about glorifying negativity. It is about acknowledging it; allowing it to exist with love and without shame. If we do not nurture this part of ourselves, it will rot.
Although my current and main focus is on ceramic work, I choose to express myself through photographs as well. With my ceramics, I am usually calculating the vessels I create to serve as elegant decor, and to be thrown with as much precision as possible. To translate my ideas, I use sculptural additives and untraditional glaze chemistry. For example, the pensive facial expressions on Faces #6 & #7, or the dry and patchy matte surface on Pyromania. This is intentional, as I reject the palatability of the object while still being able to acknowledge its grace. Vulture is an image I took of a broken flower vase that was smashed on the ground of an abandoned wedding venue. With my photographs, I like to capture decay. Typically, especially in this instance, I use subjects that mirror the passing of time.
It is important to me that my audience allows themselves to feel vulnerable. I want them to think about things that might unsettle them, and feelings that may lead to introspection. I want my audience to sit with a level of discomfort, not as something to be feared, but as something to be understood. Thus, they can embrace the full spectrum of human emotion. I imagine my work to be received as solace, but I can also see people misinterpreting my objective.
Pyromania, 2024
Face #9, 2024
Face #6 & #7, 2024
Vulture, 2024
‘Membas?, 2024
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