In sensing something that has great imaginative dimension, perhaps something as wondrous and sizeless as the mythology of Marco Polo or as limitless as the Internet, I find my compulsion to construct new patterns with the artifacts and bits of data a rather primal experience of language and ideas.  I think of this primal state, this prelingual engagement with information, as an emergent period for the senses to play with the plasticity of meaning and meaningfulness.   It is also one in need of architecture to hold these patterns still enough to hold them, sit with them.  This “architecture” is what I think of as my sculptural practice.

In one sense, the work is residue of a narrative of craft; the story of materials pinched or traced into form and image.  In another, perhaps more abstruse sense, how these things import and export meaning and experience by sculptural arrangement fascinates me.  I think of my work, then, as an infinite archeology; permutations of material culture, mythologies, landscapes, and sculpture itself.  They are surveys of objects, forms and materials that, through an examination of both their physical and figurative nuances, write a sort of internal anthropology embedded in its circuitry.

The substances and images I’m attracted to are filtered through my interests in notions of “the classical”, “the preserved”, “the artifact”, and “the mythic”; no doubt a result of my engagement with ceramics.