To paint and sculpt is a way to create abstract form that is both measured and unexpected. It is a planned state until it is no longer that state.
Informed by the natural environment, the pieces that evolve out of beeswax, wood, or other found materials are intended to communicate conflicting concepts. Concepts in duality relating to the complexity of life – the composed against the mystical, the beautiful alongside the grotesque, the joyous hovering near the haunted, the darkness next to the light – have always been tenants of my creative process.
The physical act of building narrative by adding, subtracting, pouring, incising, and scraping components is an important conditional element meant to connect to each piece and it's unique moment of focus. Ultimately knowing when to stop is more of a feeling than a clear step in the process—but imagine that absoluteness of satisfaction one has after eating a good meal, when a clear stopping point is reached, that second of knowing when all is well, that you have successfully fed your body another day. You will survive! It is this search for completeness that drives and directs this work.