Clay is the oldest material; there is poetry inherent in it which questions permanence—in and of itself.
My work is presently a still life collection.
Its composite parts are activating a self-propelling monologue engaging concepts relating:
My practice is a malleable flux; one concept lending itself to the making of an object or series of objects—which then lend them selves to arrangement, rearrangement and play. This work at times bridges my primarily method-based formal practice in creative critical discourse driven by non-institutional inculcation.
Using clay as an escape from what I perceived to be an overwhelming hyper-reality, over time led to a renewed appreciation of method based technology—like fire and the wheel. This recognition enabled the reconfiguration of my fractured relationship to techno.
Studio-labor aside—my work as I face it and find a way to present it: deals with identity in relation to inclusion and access. In specific instances precedent may be placed upon the gauge and control of the number of people with direct or indirect access to the work or the contemporary dialogue inherent in the act of making.
I have identified an instilled sense of cold isolation inherent to the majority of conceptual work. I do not wish to be subject to the isolated confines of cold rhetoric. In response my work looks to instill a sense of essential relevance into the experience.
This work is currently looking to bridge culturally historical sculptural/aesthetic tradition like Suiseki, Bonsai and Still life—with contemporary methodologies in ways that encourage engagement of the non-artistically trained. As a facet of community engagement, my practice at times points to new media technology as a means of documenting or prolonging an instance that once upon a time evaporated into the conclaves of memory that couldn’t be shared with those not actively seeking it out.
I approach expression in homage to classical practice. Through time individuals have commit themselves within the blank canvas walls of churches, studios and nature—in observation of light. Such practice informs the placement of glass/ the palette of paint.
My practice regards contemplation and intention as sustenance for creative progress. My sensitivity towards creativity is a testament to the preservation inherent in embracing, understanding, and building
tradition. Some of my work may question permanence in relation to the idea, essence, and trace, or entropy of an object or system.
My work is intuitive, engages visual complexity and involves a great deal of handwork and process. For the bulk of my process, I tend to work in multiples. These objects in multiplicity are building blocks I use like language, thus allowing me to compose my dense visual poetry. Much of my work makes use of crystal forms of assorted scale and shape. I find these to be particularly loaded symbolic forms in that they carry the rich natural and cultural history inherent within the approach to something precious. Crystals are transformative, mathematically empirical and embody impenetrable mysteries of nature as a reference or concentrated embodiment of site.
Light is critical.
I tend to rely upon surface quality and its relationship with light to generate meaning or importance. Light is an important element whether I am working carefully to light an installation, sustain a tree, or working to create objects for an installation that have highly reflective surfaces; I am interested in engaging light in ways that activate the mind and exploit its ability to source contemplation.
At completion, my work is concerned with shifts in perspective.