Objects are produced through the collective use of play, materiality and touch. The forms of these sculptures are an unconscious translation of existing objects. This allows the shape to develop freely to become disassociated with the familiar. In essence, they act as devices of unlearning, freedom and playfulness. The need for forms to exist purely out of aesthetic relationships results in installations of balance and tactility. These objects gravitate and respond towards each other as if paused in the act of play. 

In the installation of these objects they respond conversely to the space they inhabit; interchangeable they allow for free play, ideas and arrangements. The leftovers of these decisions become deactivated with a potential to do or be anything. The installation of these objects hover in the foreground in a type of void, where sculptures float around the viewer and embody the space. Flatness is prevalent in the production of these objects. From drawings they are inflated into three-dimensional shapes concerned with their own edges. A form of self consciousness holds these sculptures in place, as if they feel the weight of observation.

Two-dimensional objects offer documentation of my sculptures and installations. In photographing my own work I take many photos to find the most successful positioning of various objects. The lens acts as a tool to see cropped versions of the installation to evaluate parts at a time. Based off my own photographs the flat objects force the viewer to see the sculptures through my own eyes. In my pursuit for voidness I am able to situate these floating sculptures in planes of colour, while simultaneously puncturing and flattening the object. As a secondary element to my installations they are separate, but connected to the installation in their visual elements.