These sculptures combine glazed ceramic with applied materials like flock, faux fur, and airbrushed acrylic paint, walking the line of working with the natural properties of the material and pushing it to unfamiliar realms. The work speaks the language of glossy surfaces, plasticine veneers, day-glo colors, and seductive, tactile materials borrowed from places in which commodity fetishism dominates. 

 

Much as Marcel Duchamp or Eugene Atget studied window displays and the thin separation between consumer and product in their vitrines and photographs respectively, each of these sculptures considers the methods of display and the design strategies of commercial spaces like shopping malls and storefronts, arcades, jeweler’s displays, and department stores. In borrowing design strategies from these locations, the work pursues a sense of placelessness that is seen in global commercialism and the prevalence of the same mass media and advertisements around the world; the idea that everything could be anywhere and ultimately is.