Artsy: What influences the geometry and compositions of your work? Is there particular significance to the materials you use? How do you navigate the relationships among mediums like light filters and concrete?
AS: One important idea in my work is to find a balance between seemingly incompatible materials and to bring them into a relationship of equal significance in a new visual whole. For example, the light filter, as a very delicate and light substance, is just as important as the heavy concrete; it connects all concrete parts of a piece and keeps them in a kind of tension with each other.
In the process of working out a new piece, light as a “material” is always in focus, but there are also questions of architectural, structural, and optical conditions. I am very interested in the risk that emerges from combining substances that are assumed to be incompatible like light filters, concrete, acrylic, glass, or paper.
As far as a structural material, I want to use one that refers back to architecture—which concrete does. Concrete relates to these translucent substances in a precarious way. In combination, these materials, extremely different as they are, offer endless possibilities of perception of light to an active viewer.