In 1973 Paul McCarthy plastered his head and arm into a wall for a performance. I’ve always been inspired by the images from this work and the blunt literal follow through of McCarthy to look past the conventional boundaries of a wall. And by doing so, to then leave himself in a submissive position to the rest of the room, backside vulnerable to any passerby.

My sculptures from IN THE WALL investigate the act of looking into the wall literally and metaphorically. As with McCarthy’s performance, my sculptures begin with an assertion to see what is beyond the white wall. The figures take a look, directly, by submerging their heads beyond the outside surface of the wall. What is left for the audience is awkward. All sculptures face away from the gallery, submissive in their ass front posture. They are active in their pursuit to greet the beyond, which in turn leaves them vulnerable to the audiences’ gaze.

The work follows my interests in intertwining an approach to mundane aspects of the everyday with metaphysical and super natural elements. I continue creating the figures by casting from my own and blurring surface with the persistence of flowers. The flowers are a symbolic element in that they represent an idea and it’s potential to expand and grow. The figures are hybrid in nature, and express a desire to be part of a larger aura than self-alone.