My drawings, on paper and clay, are part of the record of my life and times.
I have several themes that move through my work. I become involved with a riff
and follow it. When I see something that amuses,confuses, or terrifies me, it
becomes part of the collection of images I use. I try to put down my marks as
clearly as possible. I often work with brush and black ink. I like the unforgiving
qualities of the medium. Drawings are like hallucinations .Character and caricature
become blurred. Drawings are a device for illustrating fears, exorcising prejudices
and exercising demons. Ambiguity is not as tragic as it seems considering
interpretation is a matter of perspective.
My sculpture comes out of my drawings. I want to make my images physical.
I have tried to use the perimeters of scale.I am fascinated by the very small
and balance this interest with works that are large in size. Many of the large
works are composed of numerous, smaller pieces. This gives the works
innumerable dimensions. Generally, my sculpture is based on the human
form, size, and condition. I work metaphorically with mass and quantity.
Many of my pieces are concerned with crowds, people’s individuality in society,
and the compression of space. I believe in the animistic qualities that the
representation of the figure has. The presence of the figure is like a ghost .
It holds a life force. I like to use wood and clay for my work because the
former was once living and the latter could be born through fire. I have always
kept my materials simple.I like direct processes. I am looking for a sense of
universal communication in my basic images.
I also paint and carve figures on pots that I make. My large urns, vases,
and jugs are part of a long term narrative series, that am continually
developing. They tell stories and are panoramic parables. I make pottery
that is both painterly and utilitarian. My dishes are part of my communion
with society. My odd, useful dishes are meant to be used and abused.
The individuality of my pots is part of my interest in the bigotry of beauty.
Admiration for physical objects is a response conditioned by culture,
taste, and education. Each pot needs to be appreciated for it’s particular
grace. I base my ideas on the human body, it’s infinite permutations and
the stories they tell.