Kinetic Sculpture
Sherman Finch (2026)
I was drawn to found objects not as relics of the past, but as vessels of stored motion—materials marked by fatigue, repair, and quiet improvisation. Scratches, bends, and worn mechanisms became traces of human labor and use, suggesting systems that once worked and might work again, differently. Through kinetics, these objects are reactivated, shifting from inert matter into participants in an ongoing performance. Movement becomes a question rather than a solution, asking what each object still remembers how to do, and how its prior life might surface through repetition, imbalance, and strain.
