Petrified Objects: 2024
Acoustic, No. 2 (April 2024)
To petrify literally means to turn something to stone, and this is fundamentally all I’m doing.
Everything in marble feels monumental and perhaps ancient. My mosaics aim to transform ordinary, utilitarian objects into something more like artifacts. Through my process, I aim to render these objects permanent, evoking the sense of having been unearthed in a future Pompeii, revealing fragments of a lost religion and culture.
My intention is to create pieces that are both absurd and strangely hallowed, emphasizing the inherent shapes. By making these objects heavy and stone, they become absolutely useless, just a statue to their intention, a tombstone of their utility.
Yard Chair materials test, No. 1 (March 2024)
At some level I cannot help but connect them to kintsugi. Kintsugi take ordinary inexpensive ceramics, broken, rendered useless, and by a specific application of attention and energy, they are transformed into something precious. My hope is similar: to transform discarded trappings of life into quiet relics.
The effort is also improvisational—the tile patterns evolve in the process, adapting to the strange dimensionality of the substrate. For me it’s a game of playing with each marble chunk in my fingers, rotating it into the next place as quickly as possible while adhesives are temporarily pliable. Every little part of the objects, a delightful puzzle to be solved.
Branch, No. 4 (August 2024)
Fisher, No. 3 (April-July 2024) Greek marble bike, white onyx spokes: the spokes are translucent and glow when backlit.
