Idea Sketched are 2-dimensional reinterpretations of sketches and photographs of sculptures. They have been given a new perspective and thought on their ability to exist in a different context and material, expanding on the art’s dimensional concept. Sketches are reconsidered and sculptures are reinvented.
This category also reverses the previous works of silhouettes becoming sculptures by turning sculptures back into their own silhouettes and outlines.
Building Units are sculptures that either have a repeated object as a building block, represent the idea of a possible repeated structure, or is a material or process that can be used as a repeated method of construction.
These works usually center around the notion of how we have structured our inhabitance and how we then need to escape the centers of blunders we have created through expansion or escape from ourselves; inner city versus suburbs versus country, and back again.
Other sculptures in this series use building type materials and processes in a haphazard manner of natural disaster proportions to again show a beauty in our total short-sightedness and repeated misunderstanding of our habitat, within our environment and nature.
Plant/Rock Particulars are studies in the shapes and forms that, for some intrinsic reason, continually manifest themselves in endless subtle variations as I autonomously sketch—filling volumes. These forms are always organic in nature and resemble structures in plants and rocks. These objects, not only show form and texture, but resonate our unconscious ties and associations with nature’s forms and building structures.
Inner Species is another study in the use of soft, expandable material-based molds similar to A Dreams Subconscious series.
Inner Species plays off the art concept of casting the negative space in or around a form as notable works by Bruce Nauman and Antony Gormley demonstrate. Where as their works on a level dealt with this volume of space that is either taken up or displaced by an object, my casts attempt to show a truer form or identity that is inside us.
I want to literally show what is beneath the surface and what is hidden behind the façade that we all project to some degree. Maybe an inner casting of ourselves could be read like tea leaves showing the identity of our nature. How does the cast material take to this form? How does gravity react to the forms need to bend in a particular direction? Are these characteristics manifestations of the forms subconscious state and center of being?
A DREAMS SUBCONSCIOUS
A Dreams Subconscious refers to works typically made from fabric molds directly resembling pillows or 2-D silhouettes of clouds. Once filled, the forms can be greatly distorted due to the expandability of the fabric and the weight of the material being cast. Pillows and clouds culturally represent the subconscious and dreams.
Pillows are what are nearest your head and thoughts as you sleep, becoming a surrogate manifestation of our unconsciousness, possibly a truer consciousness. Clouds have always been a conduit for our daydreaming and desire for that fleeting carefree moment we would like to solidify and access at will. However in both cases, our own dysfunction and cultural regulations distort our “happiness”, because, as a species, we have forgotten how to listen both individually and collectively. Our dreams and goals have become heavier than gravity due to our own misdirected intentions that hold us down.
Landscape Boxes are works that consist of mimicking ideas of sectioning and dividing the landscape or creating self contained environments/installations. I am fascinated by the absurdity of the physical creation of a political landscape and the need to create boundaries from each other by these aggressive acts of manipulation.
Meanwhile, we also attempt to create utopias of nature in and outside of nature itself, in order to impose some form of control over an inner peace. It seems escape/retreat and fear for the future, in many respects, governs the shape of our living environments. It is these manifestations in the shapes of landscapes that I am interested in—what they might look like given a certain person’s disposition with themselves and their environment.
Intrinsic Narrations uses materials that are manipulated and combined in varying degrees giving costume to the primal forms that take harbor within my subconscious landscape. These works, in large part, use diverse assemblages of remnants, cast-offs, and general sub-building materials as a key parameter in determining the form’s conceptual and physical resolution from a subconscious, unresolved development into some level of a conscious state.
The level of resolution in these works, again, is greatly dictated by the materials ability to be juxtaposed and integrated together. The specific unfinished or tapered nature of these forms directly gives influence to the level of physicality that was possible at that moment. Some forms are surreal, fleeting sketches and thoughts, barely tangible and coherent in this waking consciousness. Others have a commanding physical presence that brings the subconscious state crashing into our waking consciousness—establishing themselves as a forceful metaphor to our existence.
Organic Expeditions are explorations into the abstraction of “live” animal/figurative forms that at times have almost completely evolved into rock forms in their slow movement and solitude.
Over the many years this study is still occurring, the uniting theme is the desire to represent the great stillness caused by the hectic environment that constantly washes over and through us. These forms are a collection of those residual particles deposited on us, crystallizing the emotion shown by the work at that collective time it was finished. The end result seems to culminate in an organic form with anthropomorphic characteristics, frozen or transfixed in a particular ritual or ceaseless moment of contemplation.