On a recent trip to Oaxaca, I had the good fortune to work with a recycled paper sculptor who                                                                   generously taught me her process and techniques. Although I have previously worked only in                                                                     2-D media, specifically oils and printmaking, I have fallen in love with sculpture and have                                                                             continued to explore this medium since returning home. I love the physicality of the process:                                                                       cutting and bending wire; feeling the paper mulch in my hands as I make and apply it;                                                                                   engineering viable structures; pouring cement bases; painstakingly assembling intricate skirts,                                                                   piece by piece.

 
                                                           My first series of sculptures are female figures that evoke, for me, inner struggles and                                                                                  strengths, and strivings. I lean towards themes that allow me to create dynamic figures, often                                                                     in movement or in a state of balancing. One goal is to create for my audience a slight sense of                                                                     unease and connection.  As others before me, I aim to use the figure as a metaphor. I                                                                                   construct whimsical skirts that help support the theme of the piece by their shape and the                                                                           materials I use. For instance, in The Storm, the figure is bracing into the wind with a battered umbrella, and her skirt, made of puzzle pieces, is large and billowing with many holes, evoking her struggle. In The Calling, a ballet dancer ‘on point’ wears a tutu, constructed of window screening. The sharp, unraveling, metal tutu evokes the harshness and pain of this graceful dancer’s calling. I am inspired to continue in this series by the seemingly endless offerings the female experience provides. Skirt materials present themselves to support a visual metaphor. The skirts of upcoming works include constructions from barbed wire, nail-gun nails, and beach trash.

 
Working in a new medium means I am constantly learning, and as I get more comfortable with the basics, I can push the boundaries of my craft. Inspired by my continued study of past and contemporary sculptors like Edgar Degas, Giacomo Manzu, Giacometti, and Phillip Levine, I am experimenting with different treatments of the sculpting material. As my “engineering” skills improve, I try more challenging structures. I am also exploring different recycled and found objects to incorporate into my work and am fascinated when I come across other artists who work with recycled materials.  Last but not least, I am intrigued by the potential sculpture has to evoke feelings and connect to the viewer. As the Seattle sculptor Phillip Levine said, “Sculpture is three-dimensional storytelling. Sculpture leaves a great deal of room for the viewer to bring his/her story to add understanding and enjoyment.”  I have been delighted to experience this reaction in people viewing my work, and I am challenged to create pieces that tap into universal questions and issues that speak to my audience.