......................................................................................................................................................................................................................
7 Stages, 2017

7 Stages, 2017

“7 Stages” is comprised of seven plaster sculptures corresponding to the phases of sexuality as outlined by Freud (Oral Aggressive, Oral Passive, Anal Retentive, Anal Expulsive, Phallic, Latent, and Genital). Freud argued that a “lack” in proper nurturing during the early stages of sexuality would manifest in adult personalities as fixation or sexual deviance. I used these developmental stages as a blueprint in predetermining the forms of the sculptural works. In reference to the developmental nature of Freud’s stages the seven sculptures are exhibited as positive mold armatures which would normally be only the first step in the process of producing finished sculptures—here, however, these provisional works become the final forms, acting as stand-ins or surrogates for the finished works.

7 Stages, 2017

7 Stages, 2017

“7 Stages” is comprised of seven plaster sculptures corresponding to the phases of sexuality as outlined by Freud (Oral Aggressive, Oral Passive, Anal Retentive, Anal Expulsive, Phallic, Latent, and Genital). Freud argued that a “lack” in proper nurturing during the early stages of sexuality would manifest in adult personalities as fixation or sexual deviance. I used these developmental stages as a blueprint in predetermining the forms of the sculptural works. In reference to the developmental nature of Freud’s stages the seven sculptures are exhibited as positive mold armatures which would normally be only the first step in the process of producing finished sculptures—here, however, these provisional works become the final forms, acting as stand-ins or surrogates for the finished works.

In Stages, 2017

In Stages, 2017

“In Stages” is a 67-minute long single channel video depicting multiple clay vessels dissolving in water. Materiality is privileged over narrative. At times the disintegration is slow and barely perceivable, though this stillness is disrupted when large sections of the vessels break and shift. With this work I aimed to highlight the materiality and physicality of the objects, filming and recording the forms in a constant state of transformation. The removal of information in the form of language produced a kind of lack that is mirrored in the decomposition of the forms. “In Stages” was exhibited with “7 Stages” at AWHRHWAR In Los Angeles. This pairing inverted the previous logic of my practice. Here I produced sculptural works in response to a psychoanalytic theory, while the video presents a disintegration, presented without text or script. This experiment became an opportunity for me to subvert the perceived connection between sculpture and the id and video with the superego within my practice.

In Stages, 2017

In Stages, 2017

“In Stages” is a 67-minute long single channel video depicting multiple clay vessels dissolving in water. Materiality is privileged over narrative. At times the disintegration is slow and barely perceivable, though this stillness is disrupted when large sections of the vessels break and shift. With this work I aimed to highlight the materiality and physicality of the objects, filming and recording the forms in a constant state of transformation. The removal of information in the form of language produced a kind of lack that is mirrored in the decomposition of the forms. “In Stages” was exhibited with “7 Stages” at AWHRHWAR In Los Angeles. This pairing inverted the previous logic of my practice. Here I produced sculptural works in response to a psychoanalytic theory, while the video presents a disintegration, presented without text or script. This experiment became an opportunity for me to subvert the perceived connection between sculpture and the id and video with the superego within my practice.

In Stages, 2017

“In Stages” is a 67-minute long single channel video depicting multiple clay vessels dissolving in water. Materiality is privileged over narrative. At times the disintegration is slow and barely perceivable, though this stillness is disrupted when large sections of the vessels break and shift. With this work I aimed to highlight the materiality and physicality of the objects, filming and recording the forms in a constant state of transformation. The removal of information in the form of language produced a kind of lack that is mirrored in the decomposition of the forms. “In Stages” was exhibited with “7 Stages” at AWHRHWAR In Los Angeles. This pairing inverted the previous logic of my practice. Here I produced sculptural works in response to a psychoanalytic theory, while the video presents a disintegration, presented without text or script. This experiment became an opportunity for me to subvert the perceived connection between sculpture and the id and video with the superego within my practice.

7 Stages, 2017

“7 Stages” is comprised of seven plaster sculptures corresponding to the phases of sexuality as outlined by Freud (Oral Aggressive, Oral Passive, Anal Retentive, Anal Expulsive, Phallic, Latent, and Genital). Freud argued that a “lack” in proper nurturing during the early stages of sexuality would manifest in adult personalities as fixation or sexual deviance. I used these developmental stages as a blueprint in predetermining the forms of the sculptural works. In reference to the developmental nature of Freud’s stages the seven sculptures are exhibited as positive mold armatures which would normally be only the first step in the process of producing finished sculptures—here, however, these provisional works become the final forms, acting as stand-ins or surrogates for the finished works.

7 Stages, 2017

“7 Stages” is comprised of seven plaster sculptures corresponding to the phases of sexuality as outlined by Freud (Oral Aggressive, Oral Passive, Anal Retentive, Anal Expulsive, Phallic, Latent, and Genital). Freud argued that a “lack” in proper nurturing during the early stages of sexuality would manifest in adult personalities as fixation or sexual deviance. I used these developmental stages as a blueprint in predetermining the forms of the sculptural works. In reference to the developmental nature of Freud’s stages the seven sculptures are exhibited as positive mold armatures which would normally be only the first step in the process of producing finished sculptures—here, however, these provisional works become the final forms, acting as stand-ins or surrogates for the finished works.

In Stages, 2017

“In Stages” is a 67-minute long single channel video depicting multiple clay vessels dissolving in water. Materiality is privileged over narrative. At times the disintegration is slow and barely perceivable, though this stillness is disrupted when large sections of the vessels break and shift. With this work I aimed to highlight the materiality and physicality of the objects, filming and recording the forms in a constant state of transformation. The removal of information in the form of language produced a kind of lack that is mirrored in the decomposition of the forms. “In Stages” was exhibited with “7 Stages” at AWHRHWAR In Los Angeles. This pairing inverted the previous logic of my practice. Here I produced sculptural works in response to a psychoanalytic theory, while the video presents a disintegration, presented without text or script. This experiment became an opportunity for me to subvert the perceived connection between sculpture and the id and video with the superego within my practice.

In Stages, 2017

“In Stages” is a 67-minute long single channel video depicting multiple clay vessels dissolving in water. Materiality is privileged over narrative. At times the disintegration is slow and barely perceivable, though this stillness is disrupted when large sections of the vessels break and shift. With this work I aimed to highlight the materiality and physicality of the objects, filming and recording the forms in a constant state of transformation. The removal of information in the form of language produced a kind of lack that is mirrored in the decomposition of the forms. “In Stages” was exhibited with “7 Stages” at AWHRHWAR In Los Angeles. This pairing inverted the previous logic of my practice. Here I produced sculptural works in response to a psychoanalytic theory, while the video presents a disintegration, presented without text or script. This experiment became an opportunity for me to subvert the perceived connection between sculpture and the id and video with the superego within my practice.

In Stages, 2017

“In Stages” is a 67-minute long single channel video depicting multiple clay vessels dissolving in water. Materiality is privileged over narrative. At times the disintegration is slow and barely perceivable, though this stillness is disrupted when large sections of the vessels break and shift. With this work I aimed to highlight the materiality and physicality of the objects, filming and recording the forms in a constant state of transformation. The removal of information in the form of language produced a kind of lack that is mirrored in the decomposition of the forms. “In Stages” was exhibited with “7 Stages” at AWHRHWAR In Los Angeles. This pairing inverted the previous logic of my practice. Here I produced sculptural works in response to a psychoanalytic theory, while the video presents a disintegration, presented without text or script. This experiment became an opportunity for me to subvert the perceived connection between sculpture and the id and video with the superego within my practice.

7 Stages, 2017
7 Stages, 2017
In Stages, 2017
In Stages, 2017
In Stages, 2017