This sculpture stages an encounter between endurance and transience. A translucent wolf skull emerges from a stratified, mineral-like formation, its upward posture suggesting invocation rather than dominance. Cast in epoxy resin and embedded among crystalline growths, the skull hovers between fossil and apparition, neither fully natural nor entirely synthetic. A small butterfly rests within the formation, introducing a fragile, temporal presence against the inertia of geological mass, destabilizing any simple reading of power or permanence. Together, these elements propose a moment of suspension and a condition in which growth, erosion, memory, and transformation occur simultaneously, and where no element exists in isolation.
The Holding
20” x 11” x 8”, epoxy resin, mixed media, quartz.
This sculpture is similar to Interbeing but smaller scale, feminine form, and psychologically quieter.
It is a point of suspension where faces repeat without alignment, held close within a compressed form that resists outward declaration. Hands hover and support rather than reveal, suggesting a pause where orientation is felt but not enacted.
Rather than marking an arrival, the work occupies an interior crossing: a condition of containment in which multiple directions remain possible. What is held here is not resolved.
This was the final artwork I completed in 2025, just before we crossed into the new year.
Interbeing
Exploring the enduring tension between the permanent and the transient, the structure itself functions as a fragment of unearthed architecture or an excavated artifact, suggesting deep time and historical weight. The torso mimics rock and geological strata and bridges the body with the geological timescale.
The sculpture presents a fragmented host of consciousness. Multiple faces, cast in luminous epoxy resin, peer out, suggesting a layered identity or the shifting, unstable nature of the self. These are not singular portraits, but archival fragments of a continuous, unstable human presence that appear both eroded by time and emergent from the matrix. This draws a conceptual parallel between the slow, inexorable forces that shape landscapes and the internal pressures that mold identity.
Embedded throughout this foundation are naturally occurring quartz crystals, timeless mineral formations that pierce and intercede, acting as both deposits and sources of illumination. These mineral inclusions disrupt the figurative elements, creating a tension between the artist’s hand and the vast, pre-human timescale. The sculpture exists in a state of suspended animation, a monument to the ongoing negotiation between human fragility and the overwhelming forces of nature, history, and memory.
The work is an invitation to consider what truly constitutes life, connection, and meaning, in an existence defined by continuous material and psychological flux.
The Interval For Observing Silence
Each piece continues my exploration of the body as a psychological and material threshold, but the doubling or tripling of the head introduces a new register of multiplicity with an embodiment of fractured consciousness. This multiplicity reflects a mind in motion and unable to stabilize into a single self.
The mineral and organic textures embedded in the clothing connect it back to the material language of my other artworks, where the geological meets the human, the surface of paint behaving like sediment, skin, or soil. The forms like the crystalline emerging from the head suggest metamorphosis, or a consciousness in the process of splitting and reforming, at a threshold between human and earth.
There is also a deliberate eeriness here. Art should not resist the eerie; it should enter that realm courageously because the uncanny often opens access to psychological truths that comfort cannot reach. This painting inhabits that in-between space: between the human and the otherworldly, the living and the geological, and stands for the premise that even unease can be a form of revelation.