Before I tried paper mache I had been making ceramic figurines for a long time. By learning how to handle new materials, I see how there are parallels between my own bodily experience and craft. The time and attention the materials require is the metaphor for the time and attention I can give my body to build a life. While the sculptures are being crafted, the decisions taken have a permanent effect on me too. I am invested in tactile procedures. Each leg is modeled independently, so each one has its own individual characteristics.
The legs are separated from the rest of the body. The edge of these shapes is not the end of it. It is there to describe a point of departure, what continues beyond that limit connecting and relating to a body that exists only in the imagination. The separation of the leg from its natural position creates confusion, and I use ambiguity as a tool to fortify a personal exploration into abstraction.
The legs can touch each other skin on skin to become an orgy, or they can touch like meat on meat and become a burial pile. They can be sincere and also hypocritical, they come out of unpredictable places and defy logic. The impulse that moves them appears to be blind but with a destination, they move through the walls as if there was no horizon. Without walking they are moving in the direction to find other legs to touch. When they meet, the portion of thigh skin that meets act like hands that want to recognize themselves by feeling the other.