more than she admitted

In the cycle more than she admitted, I explore the relationship between body and mind, and between the physical and psychological space of the human being, through figurative sculptures. Each of the three works addresses a different form of disrupted integrity through geometry, which enters the body as negative space – an absence that both takes away and opens up.
This intersection becomes a meeting point between the internal and the external, the private and the public, within the field of the body. The sculptures examine how external pressures and self-limiting beliefs shape the boundaries of identity. The more the body is absorbed by geometry, the more it loses its individuality.
The works capture states of introspection, confrontation, and decay. Their shared crouched position evokes pain and defense, as well as the potential for regeneration.