My subject matter is figurative. I am not concerned with a strict representation of an anatomical form, but rather a visual interpretation of the human psyche. Each piece is to capture a human presence that contains an emotional and psychological weight derived from a formal appearance with romantic sensibilities. The work references everyday artifacts that have a direct relationship to the physical attributes of the body, from tools that we utilize, machines that act as surrogates, and pop culture depictions of the human form in Hollywood films.
My sculptures incorporate a range of materials from traditional to contemporary. Each purposely chosen material is inherently weighted by a unique set of characteristics that are determined by their historical use and physical qualities. For example, wood is a seductive natural material that formally is warm and has strong structural integrity and has an established place in art history. In contrast, acrylic paint, a plastic polymer, is a recently manufactured material that serves as a painting medium associated with illusion; its purpose is to mimic, cover or disguise. These characteristics are utilized as a metaphorical language. My interest lies in the careful combination of materials that can create a fortuitous dialog that layers the work with both a formal and conceptual complexity.
My use of kinetics is meant to animate and allow the piece to exist in a place between the conventions of an art object and a real physical interaction. This space has connections to the early creations of automatons, mechanically animated toys, where people were caught between the machines’ magical spectacle of lifelike movements and a natural assumption of existence. Our growing familiarization with automation and robotic technologies has complicated these assumptions. This ambiguous space is a place where movement becomes a metaphor for life and time.
Attention is represented by the varying levels of craftsmanship. Different methods of construction are employed to affect the viewer’s gaze and to strengthen the desired complexities between the materials. This is to explore the potential correlation between the meticulous care that goes into the craft of a specific part and the pace of the viewer’s eye.
My method of working is about discovery. The previous considerations lead me in a direction that is metaphorically similar to blindly looking for an unknown something. I start with no clear vision, just a direction. Working with materials, I grope along until something is discovered. I feel its contours and run my fingers along its faces; my hands act as my eyes inspecting the subtle details. I rely on feeling alone and compare it to my previous understandings. If the work doesn’t feel correct I alter my direction and continue with my exploration. My process is a reactionary one, working from one mark to the next, discovering the piece as it evolves.