I see my work as an investigation of the form that thought takes through an investigation of form itself. This investigation stems from an interest in the structures of both the natural world, our own and how these structures influence the way we think. I have developed a system of forms that I combine in order to examine the relationships and patterns that occur through their formal interaction. This system is derived from three sets of constituent parts. Forms are cast from three sets of colored slips. Saturation of color decreases as the scale increases much in the same way that our understanding dilutes as we consider larger ideas. Color, pattern and texture are used to further delineate individual forms within a set. This construction is currently cast from blue (rectilinear), yellow (arch) and green colored slips (cylindrical).

Placing limits on the system that I use to produce my work allows me to investigate the patterns and models we develop to understand the world we live in. The number of forms in any constituent set allows for a finite yet immense number of possible combinations. These numerical limits influence the development of pattern in basic yet profound ways. For example, a radial pattern derived from one set seems to maintain harmony successfully when it is based on an odd number, and most successfully when that number is prime. A radial pattern that is based on two sets seems most stable when based on an even number. This allows for a balanced structure, and a symmetry that exists at a larger scale. I find this to be profound in its metaphysical implications. It models how complex pattern can arise from just a few variables and how these patterns can be modeled and combined to conform to a multitude of models

A third level of signification arises by combining forms from this system in order to create objects that resemble objects that we as humans have created. This allows for comment on how we utilize metaphysical structures to create patterns, tools and systems to manipulate and control our world. There is an inextricable connection between the abstract and the tangible as illustrated by these objects. It is difficult if not impossible to separate how we think of our world from how we interact with it. My implements currently resemble hammers, pulleys, axes, guns and bombs. I find it curious that I am disposed to make objects that we use to build and destroy. Is this the state of our society or an underlying human tendency? I don’t expect this investigation to lead me to any answers but I’m comfortable with the idea that it may allow me a glimpse of how our world is constructed.


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