The definable turning point in the creation of my artwork was during my twenties when I was introduced to Native American spiritual traditions. It was at this time that I was invited to tended ceremonial fires for sweat lodges or gatherings of elders, and was introduced to crafting ceremonial drums. It was through the sacred and meditative process of drum making where I found purpose and a greater meaning in the craftsmanship of objects. It was this experience that provided me the inspiration for creating work that instills a greater meaning and purpose upon an object which reaches beyond mere material and form.
My current bodies of work range from paintings, figurative, biomorphic, and geometric ceramic sculptures. My work focuses on a wide range of topics, from the importance of craft, to such existential questions of why we are here on this planet together, the limits of human consciousness, what gives this existence and life we all share meaning, as well as ventures to speculate as to what the very fabric of reality is comprised of.
My paintings focus mainly on geometry, with a strong emphasis on layout and design. In this body of work I present my subject matter with the use of bright, vivid, saturated color, and symmetry, on a large scale, which creates an experience that envelopes the viewer’s vision with the intention of creating a meditative and personal moment of contemplation and openness for the viewer.
While my paintings are created to have an expansive effect, my non-representational sculptures are meant to provide the viewer with the opportunity to interact with an object – as an observer looking in. These sculptures are created with the intention of giving the viewer a moment to wonder about the form, its purpose and meaning, as well as invites the viewer to question their own relationship to other objects, beings, or philosophies that are outside their realm of understanding.
Although all of my work has a strong emphasis on the refinement and perfection of craft, my figurative sculpture focuses strongly on the importance of the refinement of the human features. The human form is something that most anyone from any walk of life can identify with, evaluate, and understand. By using this honored tradition, I hope to use the human form as an anchor for viewers, to draw a viewer into a personal dialog with a piece or instillation, and then have the viewer ask themselves “What is this figures relationship to the surrounding objects,” and then intern ask themselves “What is my relationship to the world around me,” and “What is my purpose?”
When I was very young my grandmother once told me, “Do every job like you’re doing it for God, and then it will be good enough.” It is this direction which is the common thread that runs throughout the body of all my work. In every piece I strive to honor the ideas and concepts I present by placing the same sacred meditative level of importance in the craftsmanship of every art object I create.