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In some instances, the work has a direct connection with childhood and religion; one sculpture is covered with plastic easter eggs, others use rainbow imagery. But this piece seems to be more about the present than the past. “The central part of it was taken from a different sculpture,” he says. “It was a matter of removing things until it was distilled to just what was necessary, so it feels more sparse to me now even though it still looks hectic. The goal is never this needs wood or this needs hair, it’s how do all these materials come together to become something more than what they are? The problem I’ve had for the past couple years is that the work became about featuring all the techniques I know, and it didn’t feel complete because there was too much there. So I’m moving in the direction of taking things away and seeing how they stand on their own.”