In my creative process, I continually seek the essence of the material that I use, its latent energy, and expanding virtual vocabulary as they filter through my sculptures, thus, allowing for reflection on my experience.
For the past sixteen years, my sculpture exploration of content and context hinges more on process than product. In scavenging and scanning, I relied a lot on the art strategies of archaeological forensics, in which the latent energy is used as a tool for the socio-sculptural construct of the subject matter.
Intuitively, from my life experiences, a social construct emerged from the dialogue of steel, its materiality, and its repurposing to create familiar subjects inspired by social media posts.
The use of art as a tool for social discourse has prompted a situation of inflexion where artists are interceding for the art—no more art for art's sake. The "about" has become more significant than the "on" comfort zone for most art critics and artists. Art critics and journalists now thrive on the "about," thus negating the discourse of art history's interception of contemporary art-making. In this body of work, I explored strategies for controlling the narrative as an artist: using the familiar to uncover the unknown, where each piece challenges what is seen and expressed as artwork.
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