Sculptural Works
Spring 2026
“Ut Supra, Sic Infra”, Sculpture, Cast Aluminum, Cast Iron, Botanical Texts 4”x7”x2.”
In my work, Ut supra, sic infra (As above, so below), I explore the symmetry between the celestial and the terrestrial, the visible and the hidden. By juxtaposing the microscopic anatomy of the elm tree with its expansive subterranean foundations, I aim to visualize the unseen threads that bind our ecosystems together.
The piece features a cast-aluminum form depicting a microscopic view of an elm leaf, paired with a cast-iron structure resembling the tree’s complex root system. These two components work as bookends to a collection of botanical texts. Physically and metaphorically sandwiching human knowledge between the raw reality of nature. The choice of materials, aluminum and iron, reflects a duality of weight and light, suggesting that the strength of the guardian elm lies as much in its delicate respiration as in its deep-reaching roots.
In ancient folklore, the elm is revered as a guardian of the worlds, a sentinel standing at the crossroads of existence. This piece honors that tradition by highlighting interspecies reciprocity. It is an investigation into our relationship with the natural world: a reminder that we do not exist apart from nature, but within a web of interconnectedness.
Through this assembly, I invite the viewer to consider the macro through the lens of the micro. Ut supra, sic infra suggests that the patterns of the leaf are echoed in the path of the root, and that our survival depends on recognizing ourselves within this ancient, cyclical balance.
“The Alchemized Mother”, Sculpture, Reclaimed Steel, Spent Brass, Monofilament, Chenille Stem 33" x 28" x 13”
The Alchemized Mother explores the profound duality of strength and fragility through the lens of maternal alchemy. In this work, the moth is not merely a subject but a functional site of transformation; the wings themselves become a loom. By tensioning the void with rows of spent bullet casings, the sculpture reimagines weaving as a survival strategy. The shells (objects of cold industrial finality) are repurposed into a metallic warp and weft, transforming the story of destruction into a structural tapestry of protection.
This integration mirrors the emotional labor of motherhood, which requires one to be soft enough to hold life and strong enough to armor it. To exist in this state is to alchemize pain into a shimmering, woven resilience. As a disabled artist and advocate, I use this form to bridge the conversation between fine art and traditional craft, challenging the idea that fragility cannot support immense weight. The moth does not just carry the shells; she is reconstructed by them. The Alchemized Mother stands as a testament to the transformative power of the weave, where the sharp remnants of the past are bound together to create a new, unbreakable architecture of flight.
Bearing the Bloom, Sculpture, Cast Iron, 5.75”x 4”x 1.5”
Bearing the Bloom is a physical meditation on the paradox of tensile grace. In this work, the unyielding weight of an iron cast (embodying the mineral density of the earth and the fire of the forge) is placed directly onto fine silk.
This piece examines the weight of the feminine: a force that is not merely decorative, but structural. While iron is traditionally synonymous with strength, it is static and brittle. It is the silk (light, translucent, and ethereal) that performs the active labor of the work.
Drawing on the technical reality that silk possesses a tensile strength comparable to steel, the installation subverts the expectation of fragility. The fabric does not shear or fail under the weight of the metal. Instead, it holds. Bearing the Bloom honors the necessity of carrying both the gravity of existence and the lightness of spirit, proving that softness is not the absence of strength, but its most resilient form.
