The interests I pursue are related to the human condition and a particular environment that is seen and unseen while attempting to define the relationships and boundaries that exist between them. I look to interpret the role of form and how it aids my understanding of the self. In this, I am continually discovering the connections between ego, form and context. In conjunction to this also lies a desire to understand the nature of habitat and the significance of physical labor which both creates and defines its human existence.

    Most of my work stems from a strong interest in the vernacular, the anthropological and the romantic. I approached art making from an anthropological background that focused on the study of dreams and the symbolic role of the shaman. The result of which has left me with a curiosity and a view to comprehend the social and psychological perceptions of “the other”. Many of these other worldly perceptions like those found in the “Dream World”, our subconscious, meditation, death, or even aspects of human desire all have profound impacts on my works interpretive intent.

    Many of the objects I create attempt to engage the viewer in a relationship that promotes a search for the other worldly or that which lies just beneath the surface of their memory. It is important for a sense of play to exist in how the viewer interprets my work. If I can cause the audience to question the visual presumptions they make when confronted with a particular form or object and deviate their thoughts towards notions of transcendence, or a place beyond, then I feel the work is effective.

    It is through the use of organic imagery, cultural and social classifications of materials, as well as man’s own history of material usage that I seek to connect my audience. The promotion of relations or visual familiarity between the viewer and the language of the work is vital. It is through this connection that I aim to draw the audience into potential dialogues over the issues of craft, space, form, memory, perception and self.

    Equally important to my work is the physical relationship that exists between the head, hand and materials. Traditional building techniques and the use or ritual have profound influences in my role as an object maker. To me, the performance of ritual defines human existence. It is a physical dance that we undertake with the materials and spaces around us. I purposely choose materials and processes that require enormous amounts of labor or discipline not only to show my blind commitment to this dance, but also to express my passionate desire for the other or fanciful. It is this romantic pursuit that I believe is truly at the center of my works intent.