My intentions, in creating within both disciplines of sculpture and painting, lie between invoking purely aesthetic concerns, and expressing narrative which can range from the overt to more subtle. However, the aesthetic is never subordinate to the narrative in my work. Often the narrative becomes more or less obscured, in fact, with mere suggestions remaining, as the aesthetic runs it's inevitable course in my process. That process often involves the use of "found object" materials juxtaposed with each other, but I also work with more traditional materials, particularly in painting. In sculpture, an example of "found objects" I use, would be industrial salvage. In painting, I employ collage materials taken from discarded signage or billboards with text, or even cut up pieces of my own previous work. The use of these materials can evoke a variety of different connotations and associations, establishing a spectrum of visual dynamics. For example, dualism through juxtaposition of unlike objects on one hand, or more subtle allusion through a fluid continuum, on the other. I also experiment with transparent, and semi-transparent layered surfaces, positioning focal points at varying levels and fields of space simultaneously, instilling in the viewer ambiguity about surface location. Ideally, nothing appears static, and remains open to interpretation. I am suggesting, through my work and process, analogies to the broader questions of how I experience my world and the passage of time within it.
My internal process is highly improvisational, and thus is not a purely intellectual act. It involves my unconscious, and instinctual self as much as it does reasoning skills. Of course, I rely upon my knowledge of color, line, space, and form, but only insomuch as they are mere tools which I use, to create in a technically unhindered fashion. With the technical concerns transcended, losing "myself" in the process becomes possible, and even my motivation, as opposed to adherence to a specific, preconceived idea. Ideally, this process takes me to a place where I have never been before, where the shifting between what I know (technical abilities), and the unknown (pushing my aesthetic boandaries), reaches a dynamic equilibrium. At that place, there is a sense of validation that my process is honest and I haven't simply repeated what I have done in the past, but I have also left room for openings to further study, in future artworks. Only when I acquire this dynamic tension, and delicate balance, can I truly say a work of art is finished.