Artist Statement

To describe my total artistic practice is to pronounce limitations. I seek to integrate myself in systems and organizing principles. I am interested in the pursuit of unlimited options. The nature of the work, and the material in which it is executed, is dependent only on the circumstances of conceptual need. The work is never bound to any single methodology or technique, only to the representation of underlying ideas. My work exists in real space, and is focused on emphasizing gesture, form, and material. My approach is one of self-awareness and cultural responsiveness.

I produce sculpture as a means to achieve a physical manifestation of my conceptual intentions in hopes that material objects will convey the significance of the mental constructs responsible for their forms. I often begin by fabricating an object or group of objects using an appropriate material and process, with the intention of later installing these pieces with other objects or sculptures that modify their meanings in some way. I am interested in situational ironies that can occur in these installations, and see them as more important than the individual objects that are used to stage them. These sculptures are used to produce a theatrical situation which calls attention to the conditions that make sculpture operate. Sculpture as a system is the subject.

I perform as a way to further engage myself with my sculptural objects. I often create sculpture that is intended to become part of a performance act. These pieces must keep their integrity as autonomous art objects. They are not props; they are art objects on the gallery stage. The full significance of these objects is only realized in their final installation.

I am interested in borders and conflicts between subjects, and the physical objects, images, and performances that I produce are the products of this interest. At its core, my work is about borders and systems and the way that I engage them.