A Gentle Sort of Restlessness is a series of hand-carved wooden sculptures that suggest speculative archaeological artifacts. The work began with an image that could be read equally as a violent struggle or a loving embrace. That unresolved contradiction became the foundation for questioning how we understand behavior when certainty remains elusive.

The hand-carved sculptures have impossible anatomies, exposed joinery, accumulated repairs, and deliberate imperfections. Chisel marks, visible seams, and alterations are not flaws to conceal but evidence to interpret. Like archaeological objects, they invite the reconstruction of histories that can never fully reach certainty.

Wood is central to this work because history is already embedded within it. Every carved mark is evidence that someone shaped the object by hand, while every repair acknowledges that objects, like people, accumulate damage, adaptation, and care over time.

The figures have no fixed identities, relationships, or intentions. Their behaviors feel familiar, yet remain impossible to confirm. I am interested in how we construct meaning from incomplete evidence, and how those meanings become inherited.