Here, the torso is a site of substitution, a fossilized form rather than a living body. In place of a biological heart and organs, a dense mineral core of pyrite, quartz, and amethyst occupies the body’s interior, introducing materials shaped by pressure and duration. The body’s internal structure is no longer organized around circulation or emotion, but around stability and resistance. It resists full access or narrative resolution; the interior does not perform or transform, but remains inert and complete. By substituting geological matter for organic function, the work presents a figure structured to withstand rather than to express, disrupting expectations of anatomy, sentiment, and living form.
Residual Form
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.