Haptic Objects




Things have an internal equivalent in me; they arouse in me a carnal formula of their presence. Why shouldn’t these correspondences in turn give rise to some tracing rendered visible again, in which the eyes of others could find an underlying motif to sustain their introspection of the world?

Maurice Merleau-Ponty, Eye and Mind

...When Rodin gave unity to his works by the climaxes of the planes, when he increased elevations and gave greater depths to hollows, he dealt with his sculpture as the atmosphere had dealt with things exposed to it through centuries.

Rainer Maria Rilke, Auguste Rodin


Artist Statement: August  2020 

Evoking the growth of plants or the erosion of rock, my recent ceramic sculptures link the effects of natural forces to the animating force of human feeling. Enlivened by the pressure of the hand, these works seem to grow out of themselves, whether modulating around or emerging from a central hollow core. They suggest both the coming-into-being of perception and the continuous transformation of matter by natural processes.  

Among other distinct expressions of transformation are the sculptures in the “forest” series. These standing bas-reliefs embody the meeting of vision — light and depth, branches and leaves — with the constructive insight of the imagination. Initiated as plein-air exercises in observation, these works evolved into their ultimate form through the pairing down and accentuating of formal connections. The result, to paraphrase philosopher Merleau-Ponty, is something like an “internal equivalent” of the visible, “in which the eyes of others could find an underlying motif to sustain their introspection of the world.” Tall and narrow, they point to the forest’s obscuring of depths, real or imaginary, beyond its veils of light and shadow.