The process of arriving interests me more than having arrived. These sculptures explore inhabitation and animation, and do not pursue idealization. The forms are “organic” and so they often resemble (but do not derive from) forms seen in nature. They are a result of hand applied forces, over time, to a material that is the embodiment of flux. Here “organic” refers to the method of generation. The sculpture evolves; it is not designed.
With these sculptures of fired clay on which I draw and paint, the fidelity is to plasticity of the medium, not to the idea of ceramics. Each sculpture is a unique, (the only one) hand built from scratch for maximum vitality. Hand building allows deep undercuts, surfaces richly textured, and a spontaneity which casting cannot provide. The textures in the clay and the patterns painted on the surface spawn from the dynamics of the form underneath as well as from the marks of facturing. Painted surfaces, as in the best tattooing, revere while simultaneously obfuscating the object. In a painted sculpture differing qualities emerge as light changes: volume dominates in strong light; diffuse light emphasizes topography.