My sculptures and objects are meant to be played with, and in this I find oscillations between power exchange, discomfort/struggle, tactile desire and exuberance. I am interested in the rolls that sensory pleasure and desire play in the way we create and enjoy art. In making, am constantly considering how creative and erotic impulses work in tandem during the making of my work. I think about materials in terms of lushness, tactility, suppleness, excess. I choose materials that have a strangeness or sexiness about them. When I consider the final forms of my work, I focus in on eliciting the desire to touch or interact with the work. I am creating objects that have direct relations to the body, whether this be in size/scale, that they have a supposed use or reference an object with a use, or the exist in some kind of environment or situation that sets them up as objects for play or interaction. My current body of work began in considering line as that which delineates limits. These limits are twofold, based in architecture and interpersonal boundaries. I define architecture as the line where two planes meet, but also a structure where things can happen, a space of potential energy. There is an implied tension in potential energy. This same tension is dynamicinconstant and surprising when found between people. In constructing my work, I visualize what these tensions might look likea line that sags, wiggles, is pulled taut. Between people, these tensions are found in touch barriers, expectations, social dynamics. At all times I am looking for places where the barriers between people, envisioned or imagined, touch, bend, break down, overlap. In choosing materials, I look for elasticity, as well as objects that anchor, attach, allow for movement. This elasticity, whether its found in rubber or another material, helps to manifest these otherwise intangible scripts.