During the summer of 2012 I was an artist in residence at the Pottery Workshop in Jingdezhen, China where I worked directly with the local flower makers creating white porcelain flowers. While this experience in China was the catalyst For this body of work, the subsequent sculptures became reinterpreted through my western perspective and long-standing interest in the decorative arts.
My handbuilt flowers allude to nature and growth patterns but they do not strive for specificity, rather they are stylized landscapes or still lifes that question artificiality and preciousness. I reference acts of nature such as ice storms through the use of industrial materials like silk flowers covered in resin, juxtaposing the organic with the synthetic. My representation of untamed nature is pure simulacrum and simultaneously questions the notions of permanence and sprawl.
Many of the works are made from black clay, visually contrasting the stark white porcelain, while bringing up associations with Victorian sentiments revolving around morbidity and excess. There is also a wink and a nod to collections such as Wunderkammers or Cabinets of Curiosities as well as the Blaschka Flowers along with a myriad of other embedded sources. This confluence of tangible ideas, materials and cultural perceptions creates visual hybridity, which allows the viewer to bring in their own associations and interpretations into the works meaning.