New Brutalism arose from a series of experiments to generate crystalline formations using laboratory kits. Titled in reference to an architectural movement whose philosophy preceded the radically different monoliths that were constructed under its moniker, this body of work analogously intended to produce a scenario in which my hypothetical expectations could be measured against a set of divergent outcomes.

In response to the unreliable and unanticipated chemical reactions that took place, the detritus of these often failed experiments became the material basis for a series of sculptural and photographic compositions. Created from imperfectly rendered, crumbling crystals and rocks, these anonymous sculptures at times reference architectural constructions and geological formations; at other times, they refer to otherworldly ruins. Akin to the way that crystals have ignited the cultural imagination throughout history, rather than solely signify what they are, they allude to the possibility of what they could be. Here, failure generates an instance of negative entropy, where disorder is framed as a potential for re-emergence.