A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing.
Martin Heidegger, “Building, dwelling, thinking”
I create surfaces, membranes, screens, borders, skins and wrappings that talk about boundaries, differences and similarities. I have been using these surfaces to make sculptures that create poetics. Some of these sculptures have more recognizable forms like torsos, traffic cones or dresses, and others have more abstract forms like vessels or drops. They are displayed in groups or multiplicities in the form of installations. Their ethereal quality makes them have a stronger emotional and visual impact, as does their gathering. I build interior and exterior spaces within the object, but also within the installation. My pieces show a skin that you have left, which is the wrapping of something; it covers it, but makes it desirable at the same time. This skin becomes the boundary.
“Im(possible) interventions” are a series of sculptures, that exist as an installation. They are small-scale sculptures made by using techniques and materials that usually are not associated with large-scale structures or public sculpture. These materials include twigs, animal fiber, vegetable fiber. After constructing the sculpture I identify a locale where I imagine placing the sculpture if it were enlarged. I take photographs of the place and digitally locate the sculpture in the chosen site, creating the illusion of large scale public interventions. My photomontages are “(im) possible interventions” because they challenge our sense of space, place, and scale while engaging questions around popular tourist/travel photography as well as the aesthetics of interventions and public sculptures.