With the abstract and the organic there are many unknowns and unlimited details. Before the action or the reduction there is long observation. I look to the wood to contemplate the possibilities. I look until I feel. Trees are anthropomorphic. These wood reliefs take on those characteristics as well. Bellies protrude, sexuality is evoked, and torsos hang in suspense. The carving follows the grain of the wood. Forms are slowly defined by following the source.

My work is about looking beneath the surface. It’s about emotions and those seemingly intangible truths. It’s about coalescing, and the natural meetings as in joints, or with a rare, simple glance in which everything is understood. The inspiration is everywhere and unpredictable. It shows itself in the water flowing under the ice or on a faded highway. I feel it in the tree that pushes through an abandoned building. It is the insistence of life that forces the weeds through the concrete. The man-made eventually becomes the organic. The paved road will break in the pattern of water. It is this co-existing, inseparable contrast that inspires my work. This is why I believe I am compelled to paint shiny colors next to, and on top of, rich, beautiful wood grains. It also why I continue to work within the rectangle and square. They represent urban life. The organic life or nature is always on the inside. The two are always inseparable, just as is beauty and destruction. Everything is temporary. My work will decay with time. The colors will change. And this is why I try to push my work to that edge. It is a practice of non-attachment.

The forms I create tend to be sparse. Sometimes I strive to make something that will feel like a whisper. Sometimes it needs to be quiet and subtle. Sometimes a perfect line can convey a sense of peace and comfort. Sometimes it has to glimmer and flash, like a river or gold teeth. All of it is a part of us. Whatever it may be, I want my work live on that edge without allowing it scream that it is art. I’m trying to capture a sensation and I believe that I can do that best by being minimal and direct with my aesthetic.

This is a search to accentuate the beauty of the irregularities in raw forms. It is about extracting and expressing that which already exists. It is an act of subtraction using hand tools, one movement at a time. The illuminated and the decomposing are subtly balanced. This process is visceral and laborious yet the end result is refined. Bit by bit a work is completed. Shapes and movements not yet exhausted continue through the next piece until they fade away. Everything has a story. Each individual is linked to a predecessor. I feel an obligation to do this work as a means of honoring the beauty that I see.

These sculptures are documents of my existence. They are abstract.