Sculpture, like music, is about what happens before and after words have their meaning. The most important aspect of my work is its silence, and the abundant meaning that can be found in the wordless space that surrounds it.
My process is simple: I do what I am still impelled to do, after the voices in my head have had their say. This, though not a formula for an easy life, has led to an inexplicable satisfaction, and appreciation of the beauty of things not yet understood to be art. Language is like a beachfront condo development, the frenzy of cheap construction ends abruptly at the ocean’s edge. The relationship between art and language is like the relationship between architecture and the ocean. They long for each other, stand up to each other and at times violently assault each other.
My work is a monument to that relationship, like a bronze plaque placed as a historical marker to an unspeakably intimate event, a memorial at the place where words have fallen, and a door to the infinite silence beyond.
The materials used in this collection are concrete, steel, neon and mirrors. Cast cement and unfinished steel evoke raw construction materials, diverted from their original purpose, bringing a self-conscious architectural presence to the space. When used together, these materials accentuate each other’s contrasting characteristics: darkness and light, fragility and strength, flatness and depth. The tension that is inherent in these relationships is at the heart of this exhibit.
After a hiatus of more than 15 years, I’ve resumed my studio practice. The working title for this collection is “unfinished business,” and it is a continuation of that practice.