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The main focus of my artistic energy is currently invested in making sculptural assemblages out of handmade objects. I am interested in how inert, inanimate objects can resonate meaning in the mind. My work makes unified wholes out of disparate fragments. I like piecing together ideas that may be rationally incongruent, but feel, by some mysterious criteria, to belong in the same narrative. I am interested in making work that exhibits a totally different character dependent on the viewerís physical relation to it. Standing ten feet away, the whole object may become a unified image; at ten inches away, its pixel level materiality is apparent. When these two resolutions can sit simultaneously in the mind -both the whole image and the constituent material parts- friction is generated between them. This energy is what I see as the fulcrum of my work. This can look like bits of colorful detritus coalescing into a human skeleton; or a newspaper that at first seems mundane, upon inspection reveals itself as completely hand-drawn. Sensory experience has a special intensity to it that is most palpable when it operates sub-lingually, and is really activated when you see something that rails against the most basic physical rules you are accustomed to. The very nature of the perception of objects (in their irrefutability) somehow demands moments like these, moments that require something more than critical analysis to penetrate. Working primarily through sculpture, I am concerned with conjuring an agitation of the mind that operates on that edge between mental space and real space.

I seek a similar friction within the conceptual architecture of the work, which is constructed through completely subjective logic, drawn as much from sound research as willful speculation, hunches, and intuition. Iíve found itís the inexplicable images that donít fit perfectly into the story that agitate the mind. With this in mind, I use objects that suggest specific relationships with immaterial ideas in culture and history. I look to inject a new materiality into familiar objects to divorce them from their conventional identity: a chainsaw is plexiglass, an oil barrel is cast plaster and sea water, a box fan made of extinct wood harvested from arson sites. I am interested in the deductive nature of how we extract meaning from the physical world, through constructing narratives that knit together chaotic and disparate points together to appear related. The underlying reality, however, is that meaning constantly shifts as narratives are constructed and dismantled, and relationships between objects, materials, and interpretation are forged and doubted. For a viewer forging these narratives, there still exists a role for intuition and the unencumbered reading. One goal I see for my work is of creating physical anomalies: finding a point where the physical world oscillates between raw material and known form, familiarity and disorientation.