From the series "Interchangeable Parts"
This sculpture is part of a recent series entitled "Interchangeable Parts". Each piece in the series is made to function as an autonomous work while simultaneously being available for pairing with any other single item from the series- or indeed to function like one large collective composition when arranged all together. Each art object is made to have no single optimal display side (no top nor bottom) and with the intention of being seen and positioned at whatever angle. The idea being that whoever is in possession of the artworks can determine how they are arranged and can reorganize them in an infinite variety of ways.
Inspirations for “Peaches and Leather” started with the 3d modeling process, which happens within a digital void where axes rotate freely. Ironically, this mediated method of creating opened-up my perception of how an object can inhabit real space. Indeed, watching an object generated untethered from gravity stimulated me to rethink how I might approach making in a physical/non-digital sphere. I saw new possibilities for how materials might be handled and could interact more freely with the body. This in turn reminded me of one of my favorite sculptural series by Brazilian artist Lygia Pape. Her relatively small, geometric, folding metal elements were created to sit and fold-onto the body. They had a certain potential for infinite arrangement and relied on participation to achieve that potential. After completing "Peaches and Leather", I was surprised by how it strangely resembles Duchamp's "Fountain"- as if it were a digitally processed 21c version. This realization delighted me because his lesser- known small-scale sculptures were also a big influence on this series. These abstract objects were made circa 1950 and were often molded from discrete body parts, like the armpit, and in some cases were made fit into one another much like these works are.
