About | Artist Statement

I make sculptures that use sensory perception to reframe interpersonal interactions. These objects combine traditional sculpture materials with physical computing, sensors, and algorithms to create multi-sensory experiences that are often interactive. My practice creates responsive objects that translate intimate human gestures—breathing, touch, proximity, and sound—into new sensory encounters.

This work is influenced by the sensorial and relational objects of Lygia Clark, which used ritualized gestures to activate memory, perception, and interpersonal awareness. Building on this legacy, I treat computation as a sculptural material capable of mediating relationships between bodies. Sensors and algorithms transform ephemeral experiences—such as the space between two people, the rhythm of a breath, or the tone of a voice—into physical forms and interactive systems.

Many of the works originate from castings of the interstitial spaces created between people engaged in intimate gestures of care, negotiation, or desire. These forms become the basis for sculptural objects, algorithmic translations, and responsive installations that invite viewers to participate through their own movements and interactions with and around these objects.

By amplifying subtle bodily signals and translating them across material and technological systems, my sculptures foreground the ways mediation works beyond and outside of  language. Through playful interaction and embodied attention, these works explore how novel forms of sensory attunement (often, but not always, produced by détourned technological forms) might support more attentive and intimate ways of being with others.

In a moment when algorithmic systems increasingly shape how human experience is interpreted, valued, and acted upon; often without our full understanding or consent. Fearful and angry conversations about authenticity, transparency and trustworthiness abound. At the same time, there is no meaningful way to opt out of having intimate aspects of life (physical movements, networks of relationships, and even patterns of care and labor) translated into data, often at the expense of their emotional and relational complexity.

My work responds to this condition by making these processes visible and tangible. Through sculpture, I materialize the gap between embodied interaction and its algorithmic abstraction, creating forms that offer recognition yet resist legibility.