I want my work to transport its beholder to a dichotomous, contemplative state (and ultimately evoke a sense of pleasure) derived from the work’s materiality and its psychology.This is a poetic way of saying that I want my work to be enjoyed physically as well as emotionally -- to “feel good” to the touch and to the mind.
The physical and material characteristics that define a work -- its form in space, its weight and balance, the tactile nature of the surface and the perceived (or real) sensuousness of the materials, are all very important to me.
Evocative imagery and nostalgic art historical references are meant to elicit unique perceptions of time, memory and place, beyond but not divorced from the symbolic associations and experiences of the viewer (or, for that matter, from the chronology of my own artistic evolution).
Beyond this, but no less important, I want my work to be beautiful and precious -- not for the sum of its parts, but for its aesthetic appearance, its underlying ideas and the intimate experience it provokes.I want my work to be bold, sometimes even provocative, and to continually transform itself. I want it to be classic yet representative of its time.And I want it to exist as evidence of my hand, but to be desired as much for its imperfections as it is for its perfections.