Artist Statement
My work has engaged with the same set of conceptual and formal concerns: scale, perception, architecture, color, drawing, materials and the absence and presence of object-hood. The work’s evolution has followed a straightforward trajectory from traditional sculptural materials to the use of man-made, non-precious materials, motivated in part by an aesthetic response to their unexpected beauty, and by a desire to incorporate everyday materials into an artistic language. At the same time they are precise but unexpected, materially intense yet buoyant. My practice has focused on exploring questions related to the experience of the individual in space, and the relationship of an object to its surrounding environment that create immersive, sensorial environments. .
Throughout my career, I have sought to challenge formal and conceptual oppositions, including interiority versus exteriority and autonomous objects versus site-specific installation, working in public spaces as well as within more traditional gallery contexts. I see my inflatable sculptures as a means of observing and mapping my surroundings as they alter the relationship of the individual to the space. By embracing fragility and expansion, the work invites viewers to consider themes of vulnerability, excess, and care. The sculpture’s scale suggests authority, yet its materiality resists dominance, proposing an alternative kind of power—one rooted in responsiveness and adaptability. They employ air as a primary material to question ideas of permanence, power, and stability. The soft volume contrasts with the architectural and social spaces it occupies, challenging expectations of solidity, monumentality, and control. The transient nature of the material adds an element of impermanence to the artwork, making them more fluid and adaptable. This can reflect the ever-changing nature of both art and life. Existing only through constant support, the work highlights vulnerability and transformation while playfully disrupting the expectations of scale and monumentality within public and private space.
Inflatable sculptures can be a critique of both modern consumer culture and the art world itself. The materials used are often associated with toys, advertisements, or temporary installations, which contrasts with the traditional notion of art as permanent, elevated, and unchanging. In this way, inflatable sculptures challenge notions of high art and question the value we place on permanence and stability. At the same time, inflatable art brings attention to the globalized, mass-produced, and disposable aspects of contemporary life. In an era where everything—from toys to decorations to even architecture—can be inflated, the art form seems to reflect the era’s obsession with size, excess, and immediacy. Incorporating new materials and techniques also allows for more intricate designs. Inflatable sculptures might feature complex surfaces, patterns, and textures that create the illusion of depth and detail. This move toward innovation signals that the form is evolving, with artists using inflatable sculptures to explore the boundaries of contemporary art. Inflatable sculptures are a fascinating intersection of art, technology, and culture. They have evolved from simple objects to complex, thought-provoking works of art that challenge our understanding of permanence, materiality, and audience interaction. Whether whimsical, political, or surreal, inflatable sculptures are a testament to the ever-expanding boundaries of contemporary art.