Life and art are a series of conceptual/unseen and spatial/concrete interactions that create a whole conversation, a constellation of bright points. Each of my created works adds another point to the constellation.
In studio, I explore a route of component shapes, media and overlay. The studio process produces sculptural flow. Or not. When metal edges are joined, with great or little effort, it disrupts the flat plane of the sheet and transforms it into a sculptural whole, a reflection of our birth, growth and maturation. Textured surfaces could be a swirled finish that appears deep and penetrable, giving rise to vertigo as the eye sinks into the surface, or a smooth, brushed and velvety finish. When new materials are introduced into the work, a balance must be reached with the original components before conflict destroys the work, hides the path and blurs the clean line of flow.
Like a diary, my portfolio presents an ever-expanding whole. My various series of sculptural works present continuums, all illustrating the same effort to reach toward but not always attain an aesthetic ideal. I rarely complete a conceptual idea within just one sculpture but continue to work it out in subsequent pieces, sometimes excising a part of the work, piercing a fluke, applying a patina wash or discarding an overly precious overlay. In this way I work to abandon the inessential and replace it with solid, robust outcomes that seem to be closer to my original vision. The reaching is more important than the grabbing.
Circularities and fair lines dominate my work, allowing movement and flow and engaging universal symbols of life and renewal. In my latest series, Spheresques, lacy orbital shapes, spawned from geometrical forms like the dodecahedron, take their place in mammoth mobiles or planted on large plazas, or perhaps sit in a garden like stainless steel flora.
With every sculpture, I aim to illustrate how process and form mirror each other within my work.