Throughout my early career, subjects of childhood, imagination, landscape, water and space travel have become central themes for content expression. Clay is my chosen material; ceramic is my chosen medium.
My process is informed by an interest in figural sculpture and the ceramic vessel, both of which deal with inner space. Simply put, my work is intuitive and my sculptures are physical artifacts from my mind.
My interest in the mind, imagination, fantasy, exploration, creation, ancient civilizations, fragmentation, space, time, objects and their material properties are the wide blast of influences that make up my image base.
Recent work combines figure, vessel, and abstraction. I am interested in exploring psychological spaces and expressing energy, feelings, dreams, memories, and states of being that exist within. Aqueous looking reflective glazes envelop the head (and landscape), calling into question how light and space around a figure impacts our understandings of it. I focus on states of ambiguity, communicating the fundamentally metamorphic and fluid realm of human experience.
My philosophy and evolution as an artist has been influenced most by a mindset of learning about the world through creative process and through the creative work of others. As Picasso stated, “I do not seek, I find.” Early inspiration may be attributed to deep interests in historical human statuary across the world as well as the writing of Paul Sheppard and C.S. Lewis. I was originally fascinated by Lewis’ idea of a portal, and a universe existing just beyond. My early works drew from mythology and evoked a sense of co-existence of humans and animals within the landscape. Thereafter, I began sculpting purely from my own imagination, creating character portraits ornate with head ware that suggested imaginative roles within an inner culture (see Inner Worlds).
Eventually the underlying beliefs and values in research prior to Master’s thesis work led me to artists and thinkers such as Mark Rothko and Carl Jung who explore concepts of the unknown, sub consciousness, liminal spaces, and the sublime. My work began to focus on more abstract ideas, taking the form of ceramic submarines and heads reminiscent of diving helmets. As much as they were helmets and machines, they were symbolic chambers and they were physical boundaries of material at a place of threshold between human and environment. It was designed to function by activating mind and imagination within the viewer rather than to evoke and personify inner gaze as formerly depicted through representations of human portrait heads and figuration. I consider my thesis work (see Bathyscaphe; Headspace Series, In Between Object) a significant breakthrough period and while I was attempting to push the limits of scale in contemporary ceramics I was invested in contemplating the relationship between the objects I was making their elemental material properties. I found a profound connection between what was physically created and the open space displaced from the earth. I realized that at some point in time, like all ceramic sculptures made in the past, they shall return to shards and dust at some point in the future.
While tangibly made from clay, conceptually-- like the “Dangos” and Heads of Jun Kaneko-- my work is “constituted in the immateriality of space just as much as in the physicality of 3-Dimensional form” (Glen R. Brown. Jun Kaneko, The Surface Figures; The Figure Surfaces. Ceramics Monthly, March, 2016. p. 35). I am fascinated by creative process, metaphysics, and branches of philosophy that examine the Void. My engagement with creative process and commitment to accessing work from the unknown is perhaps unifying in a relatively diverse body of work.