I hand sculpt each piece out of porcelain, often building a solid form and then hollowing it out. Smaller forms are built petal by petal, branch by branch and allow me the chance to get immersed in close study of the structure of a blossom or a bee. I chose porcelain for its luminous and ghostly qualities as well as its strength and ability to show fine texture. It highlights both the impermanence and fragility of natural forms in a dying ecosystem, while paradoxically, being a material that can last for thousands of years and is historically associated with high status and value. I see each piece as a captured and preserved specimen, a painstaking record of endangered natural forms and a commentary on our own culpability.
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That’s ridiculously impressive. I’ve seen several sculptures like that before (often in clay), but the detail on this one definately grabs your eye and draws you in.
What the WHAT?! That’s some incredible work!
That’s ridiculously impressive. I’ve seen several sculptures like that before (often in clay), but the detail on this one definately grabs your eye and draws you in.