When I started making sculpture, I realized that what made it different from any other genre was that it exists in real space. It doesn’t exist in representations; it actually breathes the same air we breathe. It potentially has the same energy as a person.
I wanted to make intensely powerful objects that were able to generate energy. So I started making severed werewolf heads with crystals growing out of them. When you place one of these objects on a table, it looks like it’s generating energy—because of very different things: because of the narrative that you can imagine, the violence connected to the decapitation; because of the crystals, the seductive aspect of the crystals; and because of the contrast between seductive and grotesque.
I use a lot of strategies when I make sculptures. The suggestion of transformation is only one of these strategies, because to suggest that an object can transform makes it seem like it’s alive.
Plaster, resin, paint, synthetic hair, jewellery, glitter
The Brant Foundation, Greenwich, Connecticut