Aposematic Architectures

My current studio practice investigates how structure, memory, and embodiment intersect through sculptural basketry. I work with reed as a primary material, building woven armatures that serve as spatial frameworks—grids, axes, and tensions that echo architectural systems. Once formed, these structures receive a skin of plaster and mixed media, shifting them from vessel to figure, from utility to presence.

The material transformation is central: reed begins wet and pliable, shaped through repetitive gestures, then hardens into fixed form. This process mirrors how lived experience accumulates and solidifies—how bodies and identities are shaped through ritual, habit, and unconscious patterning.

The resulting forms explore the interplay of rigidity and fluidity, expansion and contraction, structure and void. They operate as quiet studies in spatial tension, but also as metaphors for the human condition: how we hold, contain, and are shaped by what surrounds us.

My practice draws from architecture, craft, and somatic awareness, using material behavior as a way to examine internal states. Each piece becomes a site of negotiation between control and surrender, precision and intuition, ultimately asking how structure can both support and constrain the body.

detached

Will he or wont he

Body Baskets

Body Baskets formally examine the interplay of horizontal and vertical axes, generating a figurative presence through moments of expansion and contraction. The grid serves as an organizing matrix, a scaffold from which curves and organic gestures emerge. This dynamic becomes a metaphor for human experience: the reed begins wet and pliable, shaped by hand, and hardens as it dries—mirroring how memories and lived experiences solidify into patterns over time. The transformation from softness to fixity reflects how our bodies and identities are shaped—actively and passively, consciously and unconsciously—by repetition and ritual.