STATEMENT OF WORK

Some of my sculptures are welded together. Imagine the conductivity of these works, as if a tuning fork is struck and set on the surface, so that the sound resonates through the object. In an artwork, this tone has a capacity to describe the world as much as it describes the object it passes through.

Categories (say, sections in a newspaper) are porous to other parts of the world; for instance, the impression of finance upon nature, or the confusion between lifestyle and art. My specific concern is the ontological tone this mixing characterizes. I print facsimiles of papier-mâché collages made from newspapers, onto sheet metal. The content of my clippings vary: animal feed for sustainable meat, the effects of climate change on flower blooms, recipes and restaurant reviews, so on. While the activity within my sculptures are visible at reading distance, the artworks aren’t necessarily textual. My process involves shifting the facts of an object by changing the density in which it is reconstituted.

That analogy of the tuning fork might be considered in another way. Recently I visited a fiberglass shop and afterward drove to a wildflower nursery down the road. The contrast between these experiences of color, density and absorption in smell made me wonder how the interior of a sculpture could be permeated by the space around it.