Australian Red Mallee Burl and stainless steel.
4 lbs. 7" x 6" x 3"
In Long Distance Relationship, two black eucalyptus burls occupy the wall as separate bodies held in quiet relation. One sits higher and to the left, the other lower and to the right, creating a diagonal passage of space between them. They do not touch. Their forms remain physically distinct, each shaped by its own irregular edges, darkened surface, and interior complexity. Yet the distance between them does not feel empty. It becomes the central field of the sculpture — the place where connection is tested, stretched, and made visible.
Each burl contains a polished stainless steel sphere set into its dark surface. These reflective centers suggest two individuals looking outward from separate worlds. The spheres catch the same room, the same light, and the same viewer, even though they are embedded in different bodies. In this way, the work turns reflection into relationship. What appears in one sphere is echoed in the other, implying that distance may separate bodies without severing recognition.
The sculpture speaks to long distance relationships: the emotional condition of being apart while remaining deeply connected. The two forms occupy different positions, like people living in different cities, different routines, or different phases of life. The wall between them becomes geography, time zone, memory, and silence. But across that open interval, the paired spheres continue to answer one another. Their connection is not loud or sentimental; it is persistent, reflective, and unresolved.
Long Distance Relationship proposes that intimacy is not always measured by proximity. Sometimes connection survives through distance precisely because it must be chosen again and again. The work gives physical form to that condition: two separate bodies, two distinct centers, and a space between them that does not divide so much as bind.
Australian Red Mallee Burl and stainless steel.
4 lbs. 7" x 6" x 3"
In Long Distance Relationship, two black eucalyptus burls occupy the wall as separate bodies held in quiet relation. One sits higher and to the left, the other lower and to the right, creating a diagonal passage of space between them. They do not touch. Their forms remain physically distinct, each shaped by its own irregular edges, darkened surface, and interior complexity. Yet the distance between them does not feel empty. It becomes the central field of the sculpture — the place where connection is tested, stretched, and made visible.
Each burl contains a polished stainless steel sphere set into its dark surface. These reflective centers suggest two individuals looking outward from separate worlds. The spheres catch the same room, the same light, and the same viewer, even though they are embedded in different bodies. In this way, the work turns reflection into relationship. What appears in one sphere is echoed in the other, implying that distance may separate bodies without severing recognition.
The sculpture speaks to long distance relationships: the emotional condition of being apart while remaining deeply connected. The two forms occupy different positions, like people living in different cities, different routines, or different phases of life. The wall between them becomes geography, time zone, memory, and silence. But across that open interval, the paired spheres continue to answer one another. Their connection is not loud or sentimental; it is persistent, reflective, and unresolved.
Long Distance Relationship proposes that intimacy is not always measured by proximity. Sometimes connection survives through distance precisely because it must be chosen again and again. The work gives physical form to that condition: two separate bodies, two distinct centers, and a space between them that does not divide so much as bind.
