I've always been draw to the figure, to the way it moves through space and its ability to convey information through body language. Because of this, my current figurative work isn't about a person, it's about a feeling. Whether that feeling be a physical one of moving through space, of weight shifting, of stretching and moving. Or a emotional one, of protection or confidence, of being on guard or open. When people look at my work I want people to think about that feeling. To think about how their body feels as their weight shifts when they walk, and to think about the different way we walk when we feel, relaxed, or tired, or scared or confident. I want my works to elicit empathy from the viewer, for the viewer to be able to see themselves in the work and therefore bring attention and thought to their own bodies. How their body exists in relation to the world.
Another aspect of my work is fragmentation. Most of my art works are fragments or pieces of the body. One of the reasons the figures I make are often fragmented is because I'm drawing attention to a particular part of the body and attempting to convey something through it.
Another is my own sense of self and how I interact with and experience my own body. My own mental heath and body history greatly inform my work. Through recreating my body and bodies like mine in some way I have been able to critically think about my identity and relationship with my body by seeing it placed in the physical realm. This is why I depict women, because I feel and know my own female body, and also because of the way women, particularly nudes, are often depicted in art history. The female nude was often a object and would have humanity robbed from her. Because of this I make strong female sculptures that unapologetically take up their own space, command to be seen, and acknowledged as something other then a sexual object.