Cast in concrete, these pieces reiterate the historical sign of the stigmata in broken and crumbling segments, supported on thin wooden joints. The sculptures are distributed throughout each space through the logic of reanimated and wandering parts, straying from their original formation as if independently conscious.

In Holy Wounds, using the circular design representative of the wounds of Christ, I adapt this graphic iconography of the stigmata to fabric and clothing patterns to consider the symbol’s similarities to commercial clothing logos, Russian Suprematist and Modernist histories in painting, and Franciscan traditions of austerity and self-flagellation.