My professional emergence was deeply affected by the Bauhaus tradition, that is, its pedagogical use of craft as a means for aesthetic production.
Initially there was the vessel; by default inside and outside defined the logic of form and its material language – the tectonic of clay. For many years I was engaged in the production of the object. Via the processes of form making—both practically and mentally—I began to develop a kind of sculpture that expressed an inherent architectural language. Porcelain became my material of choice as it imbued my work with its unique characteristics of color, purity, translucency and hardness – sensorial qualities all architectural in nature.
Through time and much experimentation I began using materials with comparative characteristics: aluminum sheets, metal mesh and metal wire. Captured by their appeal I temporarily set aside porcelain as my primary material choice and focused my creative energy towards the realm of metals. I continue to be intrigued by the lightness of certain metals – their appearance: the greyness of aluminum, the transparency of steel and brass mesh and the delicate filigree of copper wire.
My current cycle of work is titled NETWORK. The surface of metal sheets are carved and inscribed with marks and signs, effectively creating a kind of palimpsest. The sheets are then stitched together with copper wire that is also used in a Crochet technique to form the figures, the main protagonists of this work.
NETWORK expresses a kind of material corporality by exploring the basic concept of what makes us human – that we are all made of the same fiber, woven from feelings and emotions.