Monumental Works

My commitment to monumental sculpture began when I worked with John T. Spike on my exhibition during the Venice Biennale. He wanted monumental versions of Catalina and Survival of Serena. John told me that if the pyramids were small, nobody would go to Egypt. His comment changed how I understood scale. Size was not simply about making something bigger; it could transform the experience and give a sculpture an undeniable presence.

Creating those works required much more than enlarging a small sculpture. I had to consider engineering, weight, weather, transportation, installation, foundations, and the many people needed to bring the work into the world. When I finally saw the sculptures installed in Venice, I understood why I wanted to continue working monumentally. They entered into a conversation with the architecture, water, sky, and people around them.

Monumentality is not simply about size. It is about presence and about changing our relationship to a place. I began by making the human body intimate and close enough to study. Eventually, I wanted to give that same body enough space to become a landscape of its own.