Growing up in New York City, I had constant access to world-class museums and galleries, where I encountered sculpture, painting, and ancient artifacts that sparked an early fascination with storytelling through objects. That exposure, coupled with a fascination with clay that began in childhood, continues to influence my work today. My sculptures live at the crossroads of memory, folklore, and contemporary culture, where tactile forms become narrative vessels.

In exhibitions such as Terrorcotta (Ki Smith Gallery, 2025), Clày Ja Vu (2023), and Figurines (2022), I draw on mythologies, urban legends, and pop culture to create sculptural artifacts that feel both timeless and uncanny. These works are rooted in global oral traditions, childhood fantasy, and the long, layered history of ceramics. I approach this heritage with both playful irreverence and an undercurrent of modern anxiety.

Using nontraditional hand-building techniques and glazes that drip and pulse with vivid color, my pieces travel between the grotesque and the whimsical. In Golem (2025), I create a tension between innocence and unease. Works like Hanako (2024) borrow from Borges’ fantastical bestiaries as well as the strange and surreal visual language of B-movies. In Clày Ja Vu, I explored déjà vu as a metaphor for cultural repetition—how something ancient can feel immediate and how collective memories resurface in unexpected forms. Figurines celebrates the power of small-scale sculpture to evoke intimate, deeply personal connections to memory and myth.

I see my ceramics as portals—objects that invite the viewer to step into a world shaped by folklore, fantasy, and forgotten stories. They elicit curiosity, wonder, and sometimes fear. Even when the subject matter feels familiar, I aim to shift the viewer’s perspective, offering space for new interpretations. Clay, with its unpredictability and elemental history, is the perfect medium for this work. Each sculpture stands as a mysterious relic, asking its audience not just to look, but to imagine.