As a three-dimensional artist, my working process is ever-changing and based almost purely on experimentation. I engage with my practice through an abstract lens while pushing the boundaries of material and form. I tend to work intuitively; however, I find my strong background in engineering and design influencing my process. While working, this prior background surfaces subconsciously through systematic thinking and logic. Within some of my pieces, this can be seen through my use of balance, repetition, and modularity.

The forms I create resist clear interpretation, yet this obscurity is intentional. While I cannot control the broadness of viewer perception, a goal of mine is to render forms that are physically unrecognizable. I create forms that lack the imprint of day-to-day objects. This feeling of the unknown slows viewers down and motivates them to take a moment to fully perceive each piece. Within that perception, I use color, form, material, and texture to guide each viewer through that visual process. This open-ended inspection allows meaning to surface through prolonged observation instead of immediate recognition.

Through these investigations of perception and material, my work is largely influenced by abstract expressionism and formalism. By using materials like wood, clay, metal, and plaster, I develop forms that merge these two aesthetics. These aesthetics can be seen through my use of gestures on organic surfaces and the use of structured, simple shapes. While experimenting, one form will always lead to countless others. Each piece serves as both a point of resolution and departure, informing my future work through process-driven investigations: will it be successful in multiples? A different material? Multiple Materials? My current working process is centered around my interpretation of simple, open-ended questions like these.