ARTIST STATEMENT: My work explores the relationship between light and form: how light affects form and form affects light, primarily in visual, psychological, and symbolic ways. My forms originated with the single human form and have slowly evolved over time into simple geometric shapes representing the human condition. This interaction of light and form gives me a way of examining human existence both in the spiritual (invisible, intangible) dimension and in the physical dimension of observable phenomena.
Sculpture is my foundational media: all my work begins as a spatial concept. My central vision of the light and form dynamic determines concepts, materials, forms, and methods. Each body of work within this vision starts with an idea. Sometimes that idea is a visual idea such as a window inside a window, or a light within a translucent form. That idea directs the choice of materials, lighting, and subsequently all the formal elements for that body of work. For example, in CITY ON A HILL I placed a light (neon) within a translucent form (cast glass), transforming the interior void into a sacred space and referring to a specific relationship between God and man. There exists a balance between the inner, artificial light of the form and existing ambient light of an interior space. i placed these luminous forms in a larger context of sky, sea and space to document at dusk the complex and changing relationships of interior and exterior light which occur as field reversals blur the boundaries between forms, land, water and sky. This fleeting phenomena suggests other dimensions which exist parallel to the visible world. For this three dimensional work I use translucent materials such as glass together with varied forms of lighting ranging from neon and fluorescent to LED and electro luminescent lighting.
After a period of time working with labor intensive media, I usually translate a given concept into two dimensions. in my two dimensional "poured works" every element is chosen for its capacity to reflect light and affect form. I use a wide variety of materials chosen primarily for texture and light conductive properties such as metallic oxides, interference pigments and ground glass and minerals. The surface I work on, frosted polycarbonate, appears as translucent, frosted pebbled glass. My methods are sculptural rather than painterly, involving the use of chemical processes, gravity and temperature. In both three and two dimensional work I use translucent and fragmented materials and mediums to obscure, reveal, and reflect (artificial) light, referring to states of fragility, fragmentation, transformation and redemption.