I practice a childish form of science:
My work is committed to experimentation and observation, but it is inherently willful, and does not make strict distinctions between magic and science. I love unrepeatable results and stubbornly expect beauty. I see no use for knowledge in and of itself. The truths I seek are embodied ones, those that I feel: Something delightful, beautiful, or surprising. Rather than looking for an abstract universal truth, my desire is to create objects that can be places for common experience.
I choose wood as a material because I find the tree’s story memorized in the knots, wormholes and other particularities of its structure. These become points of entry for me as I cut, carve, scrape, stain, paint and rub material into the wood, alternately burying and revealing the surface. I repeat forms such as concentric shapes and lines and allow them to gradually mutate as I build the work.
My work is committed to experimentation and observation, but it is inherently willful, and does not make strict distinctions between magic and science. I love unrepeatable results and stubbornly expect beauty. I see no use for knowledge in and of itself. The truths I seek are embodied ones, those that I feel: Something delightful, beautiful, or surprising. Rather than looking for an abstract universal truth, my desire is to create objects that can be places for common experience.
I choose wood as a material because I find the tree’s story memorized in the knots, wormholes and other particularities of its structure. These become points of entry for me as I cut, carve, scrape, stain, paint and rub material into the wood, alternately burying and revealing the surface. I repeat forms such as concentric shapes and lines and allow them to gradually mutate as I build the work.
