You Can See Us If You Squint, 60 in. (1.5 m) in height, low-fired ceramic, latex gloves, paint, sand, wood, foam, 2010.


CM: When working with both two-dimensional and three-dimensional forms, what process do you go through to physically balance them (trial and error, sketches, digital image planning, etc.)?


LL: Working with two- and three-dimensional forms is a symbiotic process between the dimensions, where my drawings inform my sculptures and my sculptures inform my drawings. The sculptures begin with sketches, where the two-dimensional forms always appear as an object represented by a blank square. So, the drawings are usually not conceived until most of the sculpture is complete. While working with the sculptural objects, a stand in for the “blank square” usually consists of a piece of cardboard. This process allows me to visualize the drawing as an object, playing with size, shape, and color while addressing the formal qualities of the work.



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Once those decisions are made, I then assess the sculpture to figure out what additional information is needed to convey my idea. More sketches are then made, but this time it is to plot out the two-dimensional drawing. The sketches are then arranged into the sculpture until one is visibly clear that it belongs. Then the final drawing process begins usually consisting of ink, watercolor and/or gouache. As I continue to incorporate the drawings into my work, the more I see them as three-dimensional objects—not only because of their physicality, but their relationship to the other forms within the sculpture. 




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