My art explores transience as part of the human experience. Through my drawings, sculpture, and installations, I investigate different processes of disintegration and preservation, both in the natural world and in culture. My drawings are figurative and representative of micro and small-scale objects in pencil and ink on paper. The imagery I use in my works is influenced by natural patterns and evolutions, and by archeological remnants and fossils alike. In sculpture I work with liquid porcelain reliefs and varying ceramic techniques. These materials reflect the environment around us- they are fragile, and encase the potential of biodegrading out of this world. I try to sustain a tension in the works between construction and dismantling, using delicate and transitory materials and content.

My latest work is a series of  delicate pencil drawings, and thin liquid porcelain reliefs of life-like skeletons which I trace by hand, and living fern plants. The drawings in this series are meticulous and delicate pencil drawings of blown up pieces of amber (fossilized tree resin), where I “capture” giant bugs and pieces of dirt. The amber preserves not only the internal structure of the organisms but also their outer appearance and even traces of movement. The skeleton reliefs begin with a freehand drawing using the casting material, which I then carve and embed different materials inside that later get incinerated during the firing process. The origin for these work is the living body, whose form was fixed by nature as an eternal aesthetic object. I re-create this fixation and add an element of preservation, as though I am stabilizing its position in order to protect it from harm, even though the material attests to its potential for breakage. The fossil, whose latin name originates from the word to be dug up, is a remnant of an animal or plant that escaped or partially avoided the decaying process, and was embedded in the earth’s crust. In the fern reliefs I press living plants into porcelain, killing them in the process, then I take them out of the mold and cast plaster into the relief molds. Using this work I turned the gallery where they were shown into an embossed garden with brittle flowerbeds that were unlikely to survive the timeframe of the exhibition. The works surrounded the viewer while they traversed the space.