I have always been fascinated with internal structures and mechanisms, how things are made and where they come from, how individual parts interact to make a functional whole, both through making and in the physical world. Through my studies in geology, I’ve learned that we and everything in our environment are inextricably linked in cycles of cause and effect that have persisted and evolved for billions of years. However, with increasing awareness of this human age called the “Anthropocene”, my wonderment with the world has begun to merge with a feeling of anxiety. I have become both disturbed and fixated with the opaqueness of industrialized society, where modes of production and disposal are obscured to the public and the impacts of supposedly disposable materials like plastic, foam, and resins last far beyond time scales that we as humans can fathom. My work is driven by this paradox of permanence and impermanence, opaqueness and transparency, that marks our modern materials, processes, and attitudes. As a maker, I naturally take on the role of this overwhelming human force—flattening live plants, destroying traditionally made chairs—and sealing them in sterile, meticulously crafted acrylic and vacuum-formed PETG to represent a limbo state of both connection and disconnection, chaos and order. I warp and deconstruct furniture archetypes to challenge fundamental assumptions about our built environment. In my work, I want to express a sense of curiousness and uncertainty about the changes occurring around us. At the same time, I want the internal structures—the parts—to be exposed and understood.

January 2018
Thesis: The Parts and the Whole (PDF)