I am interested in grey areas; those moments of ambiguity, paradox, and the point where reason and science become irrelevant or insufficient to understanding the essence of a thing. Our universe is at once orderly and mathematical, yet wildly untamed and enigmatic. I am interested in that complexity and insolubility—the veil of mystery that shrouds our understanding of this peculiar existence. A kind of a silent vitality seems to exist within everything, yet it remains mysterious and inaccessible behind that shroud. My work is born out of a mess of unorganized curiosities and frustrations over what it means to be, and the cultivated solitude that breeds a great deal of contemplation and detangling of metaphysical musings.
Most of my work is done in darkness by necessity, and the process has become a kind of metaphor for entering that sacred and unknown space behind the veil. I derive particular delight from the volatile nature of my materials and their capacity to consistently surprise me. My process is meditative and intuitive. It is both mercurial and manipulated, requiring a careful cooperation of chance and control. The process has become a kind of ritualistic act as a means of investigation and contemplation. The product is a tally or record of the process.
Essentially this is an age-old attempt to glimpse the invisible architectures of our enigmatic existence. The anonymity and ambiguity of these knotted forms necessarily invite a multitude of interpretations and insights. In this sense, I am intrigued by the manner in which a piece of art may take on an unforeseen life of its own and become vulnerable to a host of varying reactions. I am interested in isolating a thoughtful experience for the viewer—a raw encounter with ambiguity that breeds curiosity, surprise and imaginative reflection.