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My thoughts and steps extending outward like ripples, a future self shaped by what gets cultivated now. In this greyscale work I remove colour entirely to test whether the idea survives on structure alone. My face is assembled from a triangulated mesh, so that form is generated rather than outlined. Nothing is hidden behind the surface; the surface is the argument. Openness is the method, not the mood. I want the viewer to catch the moment where the lattice resolves into a face, and then to lose it again — because that flicker, between one reading and another, is where interpretation actually happens. Renewed interpretation is the whole point: the work is not finished when it leaves the studio. It is finished each time someone looks.
A low angle, full shot shows a wireframe sculpture of a teapot that has a pinkish-orange lower half and a white upper half in the desert with a clear blue sky in the background. The sculpture is made of wire mesh with thin metal bars. The lower half of the sculpture is a pinkish-orange color, and the upper half is a white color. The sculpture is sitting on the sand, casting a dark shadow on the sand. The background is a desert with rolling sand dunes, and the sky is a clear blue. The lighting is bright and sunny, creating a stark contrast between the bright sand and the dark blue sky.
