Increasingly my work explores the paradoxical relationship between material and message, between notions of the tragic and comic. It is where these incongruous shifts take place that imagination is captured. Presenting the viewer with a series of sculptural diagrammatic narratives the viewer is tasked with interpreting meaning based on personal understandings of cultural and symbolic references in the elements that comprise the piece. My work can be described as a set of objects displayed before you that have the hallmarks of a Totem disassembled on the floor needing the viewer to act as an anthropologist to transcribe the significance. 

 

The portrayal of ideas rendered in physical form becomes an entry point in to a kind of theatrical space where use of symbolism and representation promote a sense of narrative within sculpture through the viewers understanding of the objects meaning. Representation becomes at once a device for intimate exploration and at the same time emblematic of the paradox that exists in the work where ideas, objects and actions are often in contradiction with one another. 

 

The perception of time plays a critical role in my work often embodied in the objects themselves, not, as we often think of time, as the duration of events personally experienced or represented through the interpretation of information. But frozen, possibly as a portal to the past represented through anachronistic symbolism or an action not fully completed. The present fights for center billing by its mere existence in the objects the viewer is witnessing. But the notion of the present is undermined by the potential the objects posses, the potential for future occurrences. 

 

As with the other elements of my work the material language has deep significance. With the intention of displaying a sense of naivety and innocence through the working of the objects, a paradox is created in the relationship of material to message. The choice of materials I use and the craftsmanship is intended to have a childlike or rudimentarily rendered quality. This has the intention of subverting the viewer’s attempts to keep at a safe distance from the seemingly dour message through a primitivistic playfulness.

 

Within these core principles of my sculpture is an invitation to participate in the reserved significance of the work actively calling on the viewer to literally and figuratively move about the pieces in an attempt to find the true meaning of the work.