Latency

This sculpture stages a condition of containment rather than an act of display. A dense, mineralized form has organized itself around an internal presence of conditional visibility.

The surrounding mass suggests a structure that preserves through pressure and restriction. Rather than resolving into narrative or transformation, the work remains in a state of latency, where energy is stored, access constrained, and meaning held in abeyance. The form suggests an unearthing of deep-seated memory, or the slow, pressurized emergence of light from within darkness and an invitation to peer into a void without fully entering it.

Condition of Stone

In a state of suspension, two hands hold a translucent mass between them. One hand is dark and weight-bearing, the other the opposite, while a surrounding structure suggests fracture, sediment, and mineral accretion unfolding across deep time. I was interested in what happens when something that appears provisional and delicate is pressed into relation with materials that imply permanence and geological scale. The wall is not a backdrop but a pressure field, its crystalline cavity hinting at slow formation rather than event. A concealed light intermittently activates that interior, registering change beyond immediate perception. Intentionally unresolved, the hands neither release nor dominate. Instead, they hold a tension where something is neither shielded from the stone nor overwhelmed by it, but gradually implicated in its slow, governing force.

Detail

Detail

Lithic Engine

I think of this sculpture as a slow, tectonic grinding between what is grown and what is manufactured. The serpentine at the base acts as a heavy, green anchor that eventually splits into the pale, crystalline light of the blue calcite. The pulse at the center is a rusted gear claimed by the stone, though I’m unsure if the machine is driving the figure or if the earth is simply consuming the evidence of an old industry. In the dark form that rises above, I was looking for a shadow that refuses to settle, a spirit in the act of either being born from the rock or slowly being reclaimed by it.

Detail

Reverse View

Detail

False Center

Here, the torso is a site of substitution, a fossilized form rather than a living body. In place of a biological heart and organs, a dense mineral core of pyrite, quartz, and amethyst occupies the body’s interior, introducing materials shaped by pressure and duration. The body’s internal structure is no longer organized around circulation or emotion, but around stability and resistance. It resists full access or narrative resolution; the interior does not perform or transform, but remains inert and complete. By substituting geological matter for organic function, the work presents a figure structured to withstand rather than to express, disrupting expectations of anatomy, sentiment, and living form.