My sculptures honor the relationship between the immaterial (time) and earthen material (salt). Monoliths, typically architectural monuments to vertical power structures, are redefined as small organic monuments to change and softness. The salt is water-carved from industrial blocks intended as a nutritional supplement for livestock. They feel ancient and mysterious; cavernous and scarred like wind-eroded desert rockscapes.
Salt is alchemical, representing the body and ritual in mystic traditions. I am interested in creating a space of softness and rest for what, alchemically speaking, is the “salt body.” In my newest work, I pair the salt erosions with blown glass. I use my weight to press the salt sculpture into a molten pillow of hot glass.
The semi-collapsed egg/pillow of glass is both an empty void, and supportive structure, for the salt body. At times the glass acts as a pillow for the salt, buoying it up; other times, it billows atop the salt, creating a tomb or cocoon. The relationship that transpires between the salt and hot glass occurs during a very short time, yet it changes and unites them both. Burn marks occur on the salt where it touches the hottest part of the glass, as an artifact of their interaction. Here, a boundary is the space that envelops both entities.
The first iteration of this series is made with the generous support of a WheatonArts glass fellowship.