Statement

As a sculptor, and as a human being, I believe we currently face a turning point in history. The logic of endless consumption and extraction as a means of sustaining our way of living and thinking is no longer viable. There is an urgent need to reconsider our collective relationship with the environment, with greater sensitivity and humility towards one another and the planet.

Drawing on my relationship with stone as the primary material of my sculpture along the years, I have increasingly felt the need to question the character and social status historically attributed to it. Stone has often been valued for its role in establishing and perpetuating power, authority and permanence.

From this position, I have more recently developed a new body of work that explores the symbolic and poetic potential of sculpture through the juxtaposition of materials and artefacts, ranging from finely carved forms to mass-produced readymade objects.

On one level, this series reflects on notions of value and use within classical extractive models; on another, it critically explores the capacity of sculpture to articulate how we, as a species, relate to our environment.

HOUSEHOLD PLANET

A finely carved white marble structure, resembling coral, is held in uneasy balance by the presence of two domestic pink rubber gloves. Their intrusion unsettles classical hierarchies of value, collapsing distinctions between the monumental and the disposable, the revered and the mundane.

The work reflects on human intervention in nature, casting the ocean as the last imagined frontier of conquest and appropriation. The gloves operate as traces of occupation, gestures of control left behind. In this encounter, the sea is no longer a distant other but a surface upon which extraction, neglect and desire are projected, exposing a worldview that continues to treat the planet as material to be handled, consumed and exhausted.