"Within 50 to 100 years, a new class of organisms is likely to emerge, these organisms will be artificial in the sense that they will originally be designed by man." -Doyne Farmer and Alleta Berlin, 1992. The truth to these artificial assemblages will lie in whether or not we, as creators, will be able to evolve faster than our new counter parts, or will we inevitably succumb to the emerging unknown necessities of this rapidly evolving new species. My art contemplates this curiosity and is the foreshadowing next step in the evolution of figurative sculpture. All three-dimensional forms created by man reflect their ideas, as with classical sculpture, the materials and ideals invoked were reflections of contemporary revelations. In comparison, my work embodies similar themes of physical and ethereal prowess. I explore what we believe to be the ideal, a cultural phenomena of habitual self-improvement. Although my enhancements are artificial, the overt human qualities evoke a sense of empathy while the viewer is still aware the object is synthetic. I enjoy manipulating this tenacious desire to connect with such comforting images of the pursuance of naturalism that are synthetically packaged.

My work seems to fall under the movement of hyperrealism, yet it is a reflection of the possibilities for future modern art by combining advancements in technology to explore new realms. I use lifelike silicon, fiber optics, hair, skin textures, and metals to create an experience of hyper real people. My forms unsettle the viewer with a familiar mirrored image of humanity, but further distort the perception at second glance by revealing another truth as a hybrid with artificial enhancements. We strive for toned physiques and buy natural foods, but choose to acquire these archetypes by traveling down roads in ecologically unfriendly SUV's, eating genetically engineered foods while dependent on computer advances. The desire to simplify distances us further from the organic and creates artificial byproducts resting in landfills that will greatly surpass our own desires of immortality.

My future work will explore themes of integration between artificial life and human coexistence by imploring hyper realistic human images and machines in various scenarios and scales. As an artist I am both the observer and creator, hypothesizing a new universal image incorporating both artificial advances and human imagery. My work will explore both a reflective observation of a futuristic reality and an encapsulation of the simple beauty of the new beings' awkward naivety.

My intense fascination with contemporary media and themes of coexistence are physical representations of mental concepts evolving from past tragedy. The death of both of my parents in a white water rafting accident when I was nineteen has driven me to weave an integral thread through all of my pieces proposing bio ethical questions of technology and the potential benefits. One doctor explained that technology was not available to save my mother because she drowned in relatively warm water. Evidently scientific advancements may have awakened her from the coma. In my piece “Survivor's Guilt” I am depicting what is always in my subconscious; a memory of my mother's death. The piece depicts a young woman frozen in a moment, never aging. In death we are perceived as we are remembered young. In many of my other pieces I explore the possibilities of what man could develop. “Cross Section .001” deals with the concept of the evolution of medical implantations. Eye glasses, contact lenses as well as knee implants and pace makers are common in our society. “Cross Section .001” is a representation of the unlimited possibilities illustrated as a cross section of a human brain implanted with electrodes and computer chips. “iBaby” proposes the future delight of being able to custom make your own designer child. “Adam and Eve 2.0” explores the reality of being able to improve your own body by imploring artificial enhancements. It is a representation of a society wrapped up in the trials of physical and mental excellence. “Inoculation” explores the effects on children of future medical advancements. The child receives inoculations, but as a side effect of the benefits of the prescription the child has a healthy glow in the dark appearance as proof the medication is effective.

The aspect of illusion is intriguing, and a reoccurring theme in my work. Especially observing the viewer as perceptions change when they further experience the piece. Similar to Duane Hanson and Ron Mueck, my work engages the audience. You are tempted to lean in, take a closer look, examine, and try to find an imperfection in the skin detail or a misplaced hair. However, unlike Mueck, I intentionally give away that, what you are looking at, is, in fact, a fallacy. There in lies the basis of my work. By revealing the synthetic, we realize how synthetic we have become. I want to explore the realization of a future where the synthetic and organic are not easily defined.