statement
For me, art is the practice of experimentation and invention – experimentation of materials, and the invention of relationships formed between materials. I work small; however I consider each piece as the member of a much larger whole – collaborating among clusters of pieces within each series. I build each series en masse, and each series contains a redundancy of components and processes, layered and altered within each series.
As I draw, I inquire about ideas of tradition and history, structure, surface and color, and the boundaries and relationships between each of these ideas as well as the processes involved in creating a visual metaphor for these inquiries. I rely on the connections and boundaries between traditions of craft and the influence of technology and contemporary media. My aesthetic is imbued with elements that reflect on the natural world – where a similar struggle for balance and variation exist.
As I assemble a series of work, what I am actually doing is re-assembling a collection of parts and pieces of many pieces of work. I think about our generation of hybrid philosophies and practices, where innovation unifies fundamental aesthetics and ideals, and conservation is the result of deconstruction and the desire or need for change. As we work to conserve and rebuild our traditions and methodologies of culture and aesthetics, we have to break them down to the smallest core and work outwards, recognizing the history and process that goes into making something new. We are surrounded by new ways of bringing our ideas together to create unity and improve utility. Form is redefined becoming an amalgamation of history, experience and evolution. This is reflected in my work, and has been over time and through the many phases of exploration and experimentation of various mediums and the traditions involved with those mediums. I push the boundaries within tradition and materials, merging tradition to create something entirely new, yet reminiscent of something familiar.