My sculptural work uses abstracted landscape to set up a metaphor for human psychology and to link them to contemporary concerns of climate change. My personal experiences and psychology are embedded in the manipulation of the ceramic components but allow for varying interpretations through the forms’ ambiguity. The work does not seek to be didactic but experiential, taking into account the viewer’s interaction within the space to draw links between the sculptures. Using materials such as porcelain, polystyrene insulation foam, and lumber creates a dualism both formal and conceptual. Porcelain and petroleum are both made naturally in the environment over long periods of time; the former is mined from the tops of mountains and the latter culled from deep within the Earth. Both materials are made permanent through human intervention and their combination in the work questions the hierarchy associated with them and the potential paradox of their use. These notions of the natural sublime act as the emotive entry point to connect the psychological and ecological components of the work together, framing them in a contemporary lens in response to the grandeur and fear of a collapsing environment. The goal of the work is to focus on the present state of the environment and my own emotional attachment to it while keeping a close eye on the history of the materials used and the future fluctuations of the landscape as a result of these interventions.