My work investigates the connection of the physical body to its perception. One perceives an object over time, as our body moves through space, around an object. Our individual senses focus on the noticeable changes that unfold, creating our perception of self and the art object. My art is an investigation into the function and cultivation of perception.
Our own understanding and awareness of how our physical bodies perceive our environment is perhaps the most under appreciated and overlooked function of our selves as observational and sensual vessels. Our body’s relationship to objects in space is a unique relationship, one that does not hold true when translated into other media. Materiality, space and time are key to activating the gestalt of our team of senses. Perceptive sensitivity is necessary to recognize and acknowledge the subtleties in an experience. In subtleties is where poetry lives, where our need to be human is reinforced. Our bodies provide a holistic sensory experience, senses perceive in symphony and our mind understands our perception through knowledge gained over time from all of the senses and experiences.
Working in my studio with the same sensitivity, with all senses in tune - a focused holistic understanding - I orchestrate materials with gravity, friction, and movement. My work is a fossil or remnant of materials interacting with each other through the filter of my action. The process is cannibalistic and fragments cross-pollinate among unfinished works. The heavy-handed process is rich in manipulation and results in works deep with subtle, at times undefined, complexities.
The history an object has gathered through time, scars and markings or its polished surface, is what gives it life. Drips tell time by recording a specific duration and quality of time spent while interacting with the surface of the object. A drip is a liquid solidifying over a period of time. It is a 21stcentury fossil. The way objects tell time is through surface and materiality. I am making work using color as a material. The physicality of light, material which is not palpable, and building with it. Attempting to conjure up a chemistry that directly translates visual perceptions into emotions, words can be said, but words often fog the lens of a moment's sensation and experience.
My work also investigates the hierarchy of the senses. The texture of a surface and the color it reflects are both physical properties that are cued into the senses differently. Our mind negotiates our experience, and it is through our focused attention that we can deconstruct this function, and develop a greater understanding of our world and ourselves.
Becoming in touch with ones senses, is escaping the realm of our own minds default assumptions, exploring alternative ways to experience life and art. I use the studio as a space of meditation, to focus and ask improbable questions of things to develop an understanding of the self through the creation of objects. This is not just a process of making art, or the theory behind my studio practice, but the principles through which one can deepen their metaphysical introspection amongst oneself and our cosmos.
A stream of wind blows through an open window; the lowered blinds catch the wake forming a softly shifting arch. The light hidden behind the shade pierces my eyes; the breeze follows sweeping across the room and gently tickles my face. Transporting me to a mid-September day where in the same wind I flew a kite up near the sun, and it's flexing form performed that same subtleties in its softly shifting arch and my eyes filled up with the same shard of light that as I had experienced ten years earlier.
How can simple moments like this cause our sensual experience to trigger living memories seemingly long forgotten?
* This writing correlates to ideas for a work in progress, Parapet’s Ephemeral Breeze.