This combined exhibit explores the intersection of organic forms found in nature and the rigid, man-made materials of the modern world. Whether working with clay, fiber, or found objects, it strives to capture the textures, rhythms, and imperfections of the natural environment—shapes reminiscent of ocean currents, tangled roots, and debris washed ashore. Scuba diving gave a glimpse into the serenity of underwater ecosystems, while hiking connects me to the quiet beauty of forests, deserts, and mountains. These experiences flow through the work, reflecting the tension between the strength and fragility of nature.
In preparing for this show, the work was inspired by the Japanese concept of Komorebi—the dappled sunlight filtering through trees, a phenomenon I’ve unknowingly channeled in my art for years. It is reminiscent of lying on the ground as a child, looking up at sunlight through a forest canopy, or gazing up at the sun through sea foam while scuba diving. This interplay of light, form, and motion continues to guide the creative process.
At the same time, the work delves into the abstract ideas of shape and pattern, pushing these concepts beyond their two-dimensional constraints. A trapezoid is not an object itself but a form that an object can take. The work explores questions like: When do shapes and patterns become objects? Can they ever? Can a pattern remain itself even when altered? The work visualizes these ideas through stacked ceramic shapes, connected with wire, which create flexible, elastic sculptures. The work is constantly building on what came before us, visualizing the movement of pattern in motion.
