RECOVERED FRAGMENTS 
hollow gold-plated copper 









RESTORED FRAGMENTS 
copper-plated wood, paint, brass








SINGLE FRAGMENT
copper







RECONSTRUCTED FRAGMENTS
gold-plated and patinated copper







BRONZE № I
patinated bronze







BRONZE № II
bronze, silver







BRONZE № III
patinated bronze







BINARY ARCH STUDY
porcelain, handmade rope, brass







CONCAVE/CONVEX
porcelain, handmade rope, silver







PROFILE STUDY
porcelain, handmade rope, silver







HANGING FRAGMENT
porcelain, handmade rope







A BORROMINI 
porcelain 







DILATION/CONTRACTION
porcelain 







STATEMENT FROM 2011:
My work is informed by the past, fueled by an interest in contemporizing our visual history. My curiosity in what came before me closely relates to the inherent fundamentals of adornment as a concept; I explore the human body’s direct relationship to architecture, as time has honored the idea that the human body deserves parallel exaltation. Using the decorative and structural articulation of environments like Italian churches, I aim to exploit the body as a site and surface able to be similarly defined.

Adapted fundaments of Renaissance and Baroque architecture encompass my work using identifiable derivations of visual vocabularies, principles, and dynamic functions. Using proportion and balance, contraction and release, my work explores ambiguity of scale. The physicality of each piece is also essential to the visual presence when seen on the body, and the structural presence when felt worn.

This series intends to reframe how the body is perceived by unifying object and body as one. This goal of unification is met with limitations of perception- how does one communicate a theoretical environment where piece meets the intended site, if one does not get to handle the piece personally? The tangible object alone is not the complete work; without the body, only fallen fragments would be found. How are they to be put back?

  I consider each work in this series to be object(s) on a body in unprinted photographs. If given the opportunity, these works would ideally be projected quite large.

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