The sculpture I create is the result of a long process, the residue created by my striving for knowledge. My art is more than a completed object and an inquiry of form and materials, but also the manifestation of the knowledge acquired by the process, which is necessary to create the work. The formal pieces of sculpture I make refer to function but possess their own authority as objects and instigate a sense of contemplation and to intrigue in the viewer. I draw on the history of industrialization, machine technology, tools and architecture in order to utilize the sense of wonder associated with functional objects of antiquity. Through explorations of such physical realities as tension, torsion, compression and motion, an infinite variety of dynamic relationships are created in the context of an industrial aesthetic; the work in conjunction with the viewer's response, commands its own sense of history. I do not define the history, but rather I invite the viewer to experience the work from his or her own unique perspectives allowing for individual responsive interpretation.

My intent is to activate a realm where the reactionary response to the work is as significant as the object itself and which somehow communicates to ones' own experiences. The sculpture transcends the notion of function to that of form and content. The use of familiar shapes and forms provides an access point for broader audiences. Because I have a particular intrigue and connection to blue-collar laborers, I draw reference from the man made world of architecture, highway construction and industrialization of mass production. This intrigue also influences my choice of forms, materials and processes.

The forms, geometric and symmetrical in essence speak of crude yet functional components from a larger mechanical system, alluding to an era gone by; the industrial revolution. These forms are somewhat abstracted and simplified and only refer to mechanical components rather than recreating actual existing objects. The materials are chosen for their inherent colors, textures and their appropriateness and inappropriateness for the forms I create. Rough-hewn wood, blackened steel and bronze have certain appropriateness to industrial castoffs, however the glass doesn't. A material associated with fragility, the use of glass has a particular inappropriateness in the context of machine parts, which contributes to the overall mystery of the objects. I push the roughness inherent to each material in order to add richness and an artificial history to the completed piece. The end result is a complex fabricated sculpture layered with a raw essence of materials and an ambiguous familiarity.


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