I derive my figurative work from moments of the human experience of touch. The process may be a translation, a magnification, an abstraction or otherwise, but in all cases the focus is on making objects that are visually tactile- FELT as well as experienced by sight.
I am invested in the formal elements and aesthetic effects upon which figurative art and sculpture have been dependent. Additionally, I eagerly experiment and embrace new materials and techniques that can both continue and expand this dialogue. These formal decisions, translators of sense, are an ongoing, developing, secondary language that is my practice. I work towards this voice communicating the most pregnant moments, the kind that oscillate between ordinary and extraordinary, and embody sensations as well as instill them.
Just as there is an instant between reception of touch and comprehension of its meaning, a held breath, there is a moment in a work’s development that teeters in between becoming and being. This threshold moment, a resonating tension, drowns out a logical pedigree as well as a point of documented arrival. Instead it may only be self explanatory by its penetrating effect: FELT of the body.
In this form the work is actualized. It is here where it becomes a primary cause of it’s implications, a point where the effort is on interpretations arising solely from itself and not from outside sources.
This taut moment may be piercing and seemingly singular or ordinary from one perspective. However, as a suspended band, stretched between two points, it is also both malleable and infinitely divisible, therefore ripe with extraordinary potential for response. In its rawest form, this work’s absence of interpretive parameters is an allowance of, and search for the truth FULL.