AD INFINITUM - Nature and science are my primary inspirations: there are thousands of patterns and textures I find fascinating and I spend a good deal
of my time examining plants, rocks, shells, landscapes, lichens, microscopic images, cellular patterns and crystalline formations. I find it fascinating how everything in the world is formed from basic parts and yet is full of complex textures and shapes of unending variety. The ideas for my work occur at the intersection bet ween the natural shapes I’m drawn to and the materials I use. I am constantly looking around me for a new material to speak to me: some object I sense a connection to and want to explore. I always want to push my materials to a place where they are still recognizable as “book”, “wire” or “wood”, but have taken on new forms beyond those original definitions. In working with my materials I tend to forget what they are; seeing them instead as something malleable with the potential to become a fascinating new shape. The process of working with each material is one of experimentation: I let the qualities of each material influence my process, often taking me in new and unexpected directions. I always work on several series at a time; working in parallel rather than in sequence allows each series to speak to the others and influence the direction of my art. In all of my work I am constantly striving to find balance between complexity and simplicity, to create forms that are both additive and subtractive, and seeking a place in between pattern and chaos. Whether I’m working with PVC pipes, pencils or wood, I am practicing a form of material alchemy: taking each material beyond itself and turning it into something completely new and different. I believe what drives me on as an artist is the desire to see how far I can push myself and my materials into a
I always want to keep going, to see how complicated I can make something, how many lines, cuts, parts and pieces I can work with in a harmonious way.
If I’m going to work with pencils, I want there to be 2,000 of them; if I’m going to cut up wood, I want to cut it up and glue it back together hundreds of times. The process of working with extreme multiples is a challenge: too much repetition is boring, but total chaos is just as boring—I love working the boundary between the two. I just want to keep going, keep pushing, keep making... on and on... ad infinitum.