Through their actions these sculptures allude to our own bodies. The viewer having never seen such an object, its components take on names: lungs, appendages, ribs. Our perception of the object shifts to somewhere between what we are and what object is, allowing the viewers to project self upon the sculpture. It is not the physical likeness that we identify with, but their actions. Unlike mechanical tools, these objects serve no purpose. If they were accomplishing a task they would only be machines. Their function only serves their existence.
The pumps and valves of these sculptures are only components; however, once the parts are combined the parts simulate functions that relate to our own body. The sculptures act upon our empathy twisting and bending as they struggle to breathe. Each part affects the action of the parts it is connected to; they compound and become organic. In “A Small Community” unforgiving structures of metal and wood constrict a balloon pressing into its rubber surface. The latex becomes akin to skin as irregular contours and transitions form across its exterior. Alone these parts are industrial materials; together they become like our own flesh. They are vulnerable.