I have a layman's interest in many diverse subjects which inevitably influence my art.  From architecture to geology, archaeology and calligraphy, there is always a reference point of content in the work--however convoluted it might become within a design.  Catchments, arches, geologic formations and natural or manmade constructs and sections are evident in reduced or simplified ideograms.  The iconography I am developing in the work is derived from universal experience.

 Relief sculpture is always a concrete statement but it also has characteristics intrinsic to painting.  I find it an interesting challenge to relate these two disciplines together where the pictorial and iconic tendencies of painting and mark making find expression with the tactile surfaces and forms of a 3-d matrix.  My color choices are mostly in the service of this interaction, developing the picture plane across multiple perspectives while enhancing the dimensional shadow play of the forms. 

Because I use a constructive process, additive by lot and somewhat open to chance, a work's progress within formal artistic constraints is usually a surprising evolution.  To judge the success of a work, I rely on my emotional response, as if reacting to music. The work should evoke an emotional lift while engaging the mind.