| Summary: | Playschool
is
heavily
influenced
by
my
tactile
way
of
learning.
Each
sculpture
is
a
visual
way
of
communicating
my
story.
Traditionally,
words
are
the
primary
tools
used
in
learning
and
communication.
However,
from
a
very
early
age
I
discovered
that
my
auditory--]--]processing
disability
and
dyslexia
made
expressing
ideas
through
words
and
the
written
language
very
difficult.
It
was
a
challenge
for
me
to
understand
how
words
fit
together
to
make
compete
sentences,
and
I
struggled
throughout
my
education
to
find
a
successful
means
of
communicating
my
thoughts
and
ideas
about
the
world
around
me.
What
came
naturally
to
me
however
was
the
ability
to
see
and
understand
how
the
parts
of
an
object
like
a
clock
or
a
toy
for
example
assembled
to
make
it
work.
I
was
attracted
to
the
physicality
of
the
materials
and
the
mechanics
that
held
them
together.
As
a
result,
learning,
for
me,
evolved
into
a
visceral
rather
than
an
intellectual
experience.
My
work
is
my
voice
communicated
through
the
tools
and
materials
that
have
become
my
primary
language.
My
process
is
driven
by
the
idea
of
play
as
a
visual
and
tactile
form
of
learning.
My
high
regard
for
process,
material,
and
craftsmanship
is
exhibited
through
every
piece
I
create.
A
past
surrounded
by
hardworking
craftsmen
and
laborers
has
also
greatly
impacted
the
imagery
I
use.
I
appreciate
the
personal
aspect
of
using
hand
tools
to
create
something
intimate
and
also
feel
the
considerable
power
that
comes
with
working
heavy
equipment.
These
two
ideas
are
at
the
forefront
of
my
mind
while
I
create--]using
many
hand
tools
to
construct
something
that
often
mimics
heavy
machinery.
Many
of
my
skills
have
been
acquired
from
working
with
people
of
various
trades
and
this
greatly
influences
my
studio
practice.
This
hands--]on
type
of
education
has
played
a
vital
role
in
influencing
the
type
of
work
I
create.
The
construction
I
have
encountered
daily
for
the
last
year
and
a
half,
on
the
South
end
of
LSUfs
football
stadium
has
motivated
many
of
my
current
works.
My
sculptures
were
drawn
from
the
perpetual
transition
that
happens
on
the
construction
site
and
the
endless
lines
that
appear
in
the
scaffolding
equipment
and
rebar--]concrete
supports.
This
three--]dimensional
line
quality
is
translated
into
my
work
constantly
with
the
stacking
and
layering
of
square
wooden
dowels
and
steel
square
stock.
I
use
the
density
and
structure
of
the
lines
alongside
the
kinetic
aspect
to
draw
my
viewer
in
for
a
closer
look
and
give
the
viewer
a
tactile
way
to
view
the
nature
of
my
work.
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