I strive to experience and communicate a fundamental sense of peace through my art. Creating art has always been the only thing on this planet that can actually clear my mind. In that quiet, vast, serenity is where I live most truly. That stillness is my addiction.
My travels, personal relationships, science, and books (fantasy, philosophy, and physics are my favorite) are all huge contributors to my work. I started with time-tested materials like canvas, wood, and paint. The process was easily identifiable and everything was actionable as purchased. I think flat canvas is perfect for some artistic ventures and I still work on flat canvas occasionally today.
In my travels, I came to recognize steel as the material that gives the beautiful structures I saw around the world their shape. Initially, I was scared to use it. It seemed such a “heavy” medium. But, because almost any shape you want can be realized, I came to see it as freeing. I experimented with many different types of steel (and will continue to do so), but for now, I have settled on steel rod for my three-dimensional canvases, and 22 gauge cold-rolled sheet steel for my sculptural pieces.
Adding steel to my materials was a major shift in both my process and planning. I experimented with mixing materials and presenting them in new ways to create real shadows where I was dissatisfied with the depth of painted shadows. I took real ownership of my process when steel came into the mix. It was the point where I said, “I need to go further.” Because there was no one I knew who had done it before, it was up to me to figure out the process and supplementary materials, each step of the way.
I’ve used mechanical hammers two stories high, hand tools, my hands, even guns to form steel. All have very interesting and different results. I really prefer my own two hands. Sometimes the simplest, straight-forward actions are the most effective. My ownership of my experience centers on what I can do to create beauty and peace in this life, especially which exists on its own while I am not present.
I love my three-dimensional canvas work especially for that reason. At any point of the day, and depending on where you are standing relative to the piece, the shadows and colors differ; movement doesn’t have to be inferred. I don’t want to control how my pieces are viewed, which is why I sign my work on the back. I want owners of the work to feel free to mix it up, hang work differently, and see the different way the light plays from that perspective.
I invite you to engage with my work in your way.