Negotiation — Instability — Adjustment — Balance — Friction — Care —
Negotiation — Instability — Adjustment — Balance — Friction — Care —
My practice examines negotiation as an ongoing condition of living within structures and circumstances that cannot be fully controlled. I am interested in how bodies respond when spaces, materials, and systems have already shaped the possibilities of action. Rather than approaching instability as a temporary disruption to overcome, I consider it a condition inhabited through continuous adjustment: a shift in posture, a change in pressure, or a decision to remain, withdraw, or continue.
I create sculptural situations in which balance is provisional and must be repeatedly produced. Working across ceramic, rope, wood, metal, fabric, and responsive mechanisms, I construct systems that distribute weight, tension, movement, and responsibility across bodies and objects. Materials do not simply represent these relations. Their friction, resistance, flexibility, and weight actively shape how each encounter unfolds.
My working process begins with prototyping, observation, and recalibration. I examine how an arrangement organizes movement before a participant consciously decides how to respond, and how effort becomes unevenly distributed once an interaction begins. Some bodies compensate more, move more carefully, or sustain a condition for longer. What initially appears to be a shared system is often maintained through forms of labor that remain partial, unequal, or unnoticed.
Participation in my work is neither guaranteed nor treated as an ideal. A viewer may activate a sculpture, observe another person negotiating it, misunderstand its use, hesitate, or refuse. These responses are not external to the work. They reveal how interaction depends on prior constraints, interpretation, proximity, and willingness. I am less interested in whether participation succeeds than in the conditions that make action possible, difficult, or uneven in the first place.
Across these works, negotiation does not lead toward resolution or equilibrium. It becomes a way of continuing within imbalance: recognizing what cannot be changed, identifying what can still be adjusted, and sustaining movement without the assurance of stability. My sculptures make this process perceptible, framing stability not as a fixed state but as a temporary effect produced through continuous, distributed, and often unequal effort.
Objects that look reliable but behave differently — benches, tables, roly‑poly toys, silicone thresholds.
Ceramic, Silicone · 2025
3D Printed PLA, Pebblestone · 2024
Fine Arts BFA @ Parsons · Creative Coding minor. Practice at the edge of failure: making space for trembling, repair, and choice.