I approach the finished sculptures as islands rising from the floor. Enmeshed and folded into these irregular masses, are articulated structures reminiscent of universal attempts to alter spaces by human habitats. I want the pieces to read as ambiguous forms that the viewer can conceptually enter and feel as voids, visually moving through the carved-out spaces and connecting passages. As islands, the individual parts can be adjusted to fit into a given space as an installation, creating a tension between the individual pieces and the paths between them. The experience of the observer finding their way through the paths becomes a conscious part of the work. The drama of this activity relates to actual places and ongoing attempts to define a relationship with the earth. Do our interventions represent sources of wonder, or a fortress mentality? Are we resourceful or are we indifferent and do we address the consequences of our folly?
The clay has multiple firings from high to mid heat levels and is treated to accentuate its natural quality and texture. Occasionally color is added, sparingly, to add contrast with the natural surface. Most of the color is a result of under glazes and other clay slips, but rarely actual glazes.
I have been inspired by the artist Hokusai among other artists of his period because they understood how to mimic natural landscapes in a stylized manner that we can read and feel. German expressionism is another influence as it also uses a stylized presentation to emphasize the emotional content of reality. Closer to home, I have also looked at contemporary architecture, like “Case Study” homes that integrate interior and exterior spaces so that their distinction becomes increasingly subjective. Arshile Gorky was an early influence both for his draftsmanship, approach to biomorphic forms and sensuous use of washes over a carefully constructed space.