Artist Statement

My work begins with the things we learn to overlook: a plant growing through pavement, the container left after a meal, the repeated tasks that sustain a household. I cast discarded food packaging in cement, preserving its ridges, seams, and instructions as evidence of what we buy, use, and throw away. These forms record a private domestic life, but they also point to the larger systems of production, transportation, and waste in which that life takes place.

I combine the casts with painted botanical imagery, glass, and light. In my Cement Frescoes series, a single plant occupies a surface shaped by disposable packaging. The work asks for close looking: a viewer might notice a leaf first, then a molded number or the word “Recycle” beneath it. The shift between those details matters to me. Beauty can draw us toward an object long enough to consider the less comfortable histories it holds.

The same materials become sculptural shrines and installations. I stack, suspend, and rearrange cast forms and painted glass until familiar household objects begin to resemble fragments of architecture or models of imagined places. Their scale changes our relationship to them: a small work asks us to approach, while an installation gives us space to move through. Both use light and material contrast to shape attention.

I came to understand care through repetition: noticing a plant, learning its name, returning to it across seasons, and painting it carefully. Domestic life is full of similar acts of tending, cleaning, repairing, and feeding. My work asks whether the attention that sustains a household can extend to the ecological systems on which it depends. I think of these works as architectures of attention—places to practice reverence for what is already here.