Universal Veil explores ideas of the collective consciousness and the manifestation of thoughts as physical entities. Repetition of ceramic tendrils and application of fleshy, satin glazes evoke imagery reminiscent of neural networks, fungal mycelium structures which span regions, stabilizing roots in our topsoil, and ubiquitous organisms found on Earth. Drawing parallels between these natural phenomena and the energetic essence of both human and non-human life, the work translates concepts of Being into tangible forms.

Whether microscopic or sprawling, the visual language employed in the pieces connects cerebral landscapes, notions of divinity, potential souls, natural ecosystems, and human-made networks. Extension and rhythm of the clay plays a pivotal role in illustrating these concepts. Plant life, the demise of a star, the intricate systems of our transit lines, the tangling of rivers and creeks on our maps, and expansive cyberspace all inform these pieces. There is a fusion of “nature” and “human made"; boundaries are dissolved by exploring metaphysical ideas that bind various facets of existence. 

The finished pieces are still, as though capturing the chaos of a moment frozen in time. At different phases of growth, decay, and rebirth, they prompt contemplation on the trajectory of ideas, their ownership, and the enigmatic future of existence. The creative process becomes meditative and cathartic. Feelings of satisfaction arrive from the meticulous arrangement of tendrils and the contemplation of the overall form. Patience and focus is required during the manual creation of hundreds of tapered coils, yet infusing day-to-day unique, raw energy fosters openness to alternate paths the clay may take mid-creation. The goal is to push the limits of the material without defying it. Finding synergy between weight and movement allows ceramics to walk a line between fragility and surprising durability. 

At each step, decisions branch out into hundreds of possible variations. This leads to the concept of infinity as particles within a lump of clay can be rearranged endlessly. Pieces can be glazed and fired repeatedly, exposed to time and the elements, broken and reassembled, any additional material can be incorporated, any number of technological edits can be made, and pieces worn into cohesion can rest in many places on Earth or float around in any virtual reality. 

Amidst these boundless options, I’m inspired to think sculpture has the potential for any appearance. It is key to invoke forms from that hidden, yet-to-be-imagined realm in order to dissect what cannot be seen. Serendipity and curiosity are required to uproot pieces that attain illusions of movement and growth. Finalized objects explore consciousness and the intricate connection of all entities that make us and surround us.

Theoretical musings on art and life, emotion through making, aesthetic tendencies, and defiant yearning for a better future are all inspired by many artists and life-livers. These include but are not limited to Andrew Casto, Donté K. Hayes, Nina Kintsurashivili, Miki Skak, Rose Schreiber, Phoebe Cummings, Linda Lopez, Jeannie Hulen, Keri Deng Tap, Lydia Lavrova, Nancy Tang, Maxwell Mustardo, Vincent (Sniper) Frimpong, and Cat Hudgens.