The human figure—as artistic subject—remains capable of containing contradiction. This is why the work continues to engage it.

The body operates through complementary dualities: gravity and support, compression and extension, tension and release. These opposing forces exist in constant relation—neither element dominates, neither fully yields. Form emerges where they achieve balance.

This work focuses on configurations where that balance is most precarious: the moment before collapse, where force accumulates without resolution. These suspended states reveal structural relationships that fluid motion obscures.

Equilibrium here is not rest. It is active resistance—opposing forces organized into sustained relation, each held in check by its complement. The “held condition” is this state: forces neither resolved nor collapsed, but maintained in dynamic tension.

Working with the figure means confronting physical limits. Anatomy establishes boundaries; volition tests them. When will exerts itself against anatomical constraint, apparent thresholds expand. The limit doesn’t disappear—it shifts. What seemed impossible becomes momentarily achievable, revealing capacity that exceeds expectation.

This investigation operates through two parallel modes. Formally, it examines how discrete elements integrate into unified configurations—bodies folded into compact wholes, limbs organized into geometric absolutes. Psychologically, it explores how the self emerges through integration of complementary opposites—the balance of dominant and recessive, revealed and concealed aspects that constitute identity.

In photography, this inquiry proceeded through controlled lighting and geometric constraint. In sculpture, it engages physical mass directly. Both ask the same question: how do opposing forces organize into stable form?

The work tests this question under varied conditions—external constraints, internal boundaries, algorithmic alternatives. When opposing forces achieve sustained relation, form stabilizes. When they don’t, it fails.

The rigor serves an aesthetic purpose: to isolate compositionally complete configurations where beauty becomes visible evidence of structural resolution. Equilibrium, when achieved, is structural necessity—not decorative choice.