Olive wood (Olea europaea) with stainless steel and epoxy inlays.
24 lbs. 27” x 22” x 3”
This sculpture takes its form from the earliest environment of human development, where life is sustained not by structure alone, but by containment, circulation, and protection. The reclaimed wood serves as the enclosing body—its cavities and contours shaped by time—suggesting an organic vessel rather than a fixed boundary.
Blue epoxy fills and occupies the interior as a metaphor for amniotic fluid: a medium that cushions, nourishes, and isolates developing life while allowing movement and growth. Its translucence evokes water as both substance and condition—an environment that supports life precisely by remaining unseen and unobtrusive. The epoxy does not bind elements together; it surrounds them, creating a suspended state in which vulnerability and stability coexist.
Within this fluid field rest two steel spheres, representing fertilized embryos. Their solid, reflective surfaces contrast with the surrounding epoxy, emphasizing the distinction between emerging form and sustaining environment. Though identical in material, the spheres remain separate, each occupying its own spatial relationship to the vessel that contains them.
Mother Vessel reflects on origin as an act of holding rather than control. It presents the womb not as a structure that shapes outcomes, but as a condition that allows multiple lives to develop simultaneously - protected, independent, and defined as much by the space around them as by their own material presence.
Olive wood (Olea europaea) with stainless steel and epoxy inlays.
24 lbs. 27” x 22” x 3”
This sculpture takes its form from the earliest environment of human development, where life is sustained not by structure alone, but by containment, circulation, and protection. The reclaimed wood serves as the enclosing body—its cavities and contours shaped by time—suggesting an organic vessel rather than a fixed boundary.
Blue epoxy fills and occupies the interior as a metaphor for amniotic fluid: a medium that cushions, nourishes, and isolates developing life while allowing movement and growth. Its translucence evokes water as both substance and condition—an environment that supports life precisely by remaining unseen and unobtrusive. The epoxy does not bind elements together; it surrounds them, creating a suspended state in which vulnerability and stability coexist.
Within this fluid field rest two steel spheres, representing fertilized embryos. Their solid, reflective surfaces contrast with the surrounding epoxy, emphasizing the distinction between emerging form and sustaining environment. Though identical in material, the spheres remain separate, each occupying its own spatial relationship to the vessel that contains them.
Mother Vessel reflects on origin as an act of holding rather than control. It presents the womb not as a structure that shapes outcomes, but as a condition that allows multiple lives to develop simultaneously - protected, independent, and defined as much by the space around them as by their own material presence.
