Kinetic Becoming is an ongoing body of work that explores the relationship between perception, embodiment, and transformation through sculptural form. Working primarily with fired clay and integrating digital projection, photography, and video, the project investigates how static objects can suggest movement, and how physical materials can evoke psychological and sensory experience.
The work emerges from an interest in systems—biological, perceptual, and constructed—and the ways in which meaning is formed through incomplete, imperfect, and evolving structures. Rather than presenting finished statements, the sculptures function as propositions: moments within a larger process of becoming. Each piece reflects a tension between control and chance, intention and discovery, stability and flux.
Kinetic Becoming is not concerned with resolution. Instead, it privileges process, iteration, and attentiveness. The project exists as both an archive of material experiments and a conceptual framework for understanding how form, motion, and perception co-produce experience over time.
The work examines how we interpret form through sensory systems—particularly vision—and how perception is shaped by expectation, memory, and spatial context.
Many of the forms reference bodily structures or sensory organs, suggesting that perception is not abstract but grounded in physical experience.
Structural tension—between parts, materials, and forces—mirrors conceptual tension between stability and instability, presence and absence.
The sculptures often reveal how they are constructed. Seams, joins, and frameworks are left visible, emphasizing process over polish.
Rather than idealized forms, the work embraces irregularity, misalignment, and incompleteness as essential conditions of becoming.
The works in Kinetic Becoming exist as both individual objects and interconnected studies. Some pieces function as standalone sculptures, while others operate as modular systems, wall-based assemblies, or installation groupings. Together, they form a visual language rooted in repetition, variation, and subtle shifts in scale and orientation.
While grounded in physical material, many of the works incorporate digital projection and photographic elements, introducing temporal and kinetic layers that challenge the static nature of sculpture. Light, shadow, and motion become materials in their own right.
Each work is less a conclusion than a point along a continuum—an artifact of an ongoing inquiry into how form holds meaning in motion.
The project consists of multiple phases, ultimately culminating in the creation of multiple pieces of Kinetic Art. The first phase of exploration, titled “The Beginning,” can be seen in the portfolio section of this site.
The second phase, which explores structure, assembly, and tension, is currently underway in my studio.
Kinetic Becoming is as much a method of working as it is a body of work. The project unfolds through iterative making, testing, and reflection in the studio. Sketches, prototypes, failed experiments, and unexpected outcomes all inform the final forms.
Clay is used not only for its material qualities but for its resistance—it records gesture, pressure, and time. Digital tools introduce another layer of mediation, allowing static objects to participate in movement, light, and virtual space.
Kinetic Becoming developed alongside the preparation of my MFA portfolio and continues as a long-term artistic inquiry. While rooted in sculpture, the project operates across media and disciplines, reflecting an interest in hybrid practices that blur the boundaries between physical and digital space.
The work draws on influences from contemporary installation, conceptual art, and systems-based thinking, while remaining grounded in traditional material processes. It functions both as a standalone body of work and as a framework for future explorations in mixed media, spatial practice, and perceptual studies.
