My sculptures describe an oppositional relationship between man and the world as a force that is somewhere between an offensive and defensive action. Space and materials are arranged to show tension and change using the language of erosion, decay, and growth processes.
The most profound influences of form clearly stem from my Environmental Science background, but science alone allows me only to observe, classify and define. When I lived in South Korea, a friend, when asked to describe the difference between our philosophies said, “to understand a mountain, we don't define what a mountain is; we ask what is it like to be the mountain?” My work is a chance for me to integrate this philosophy by being not only an observer, but a part of the landscape, the stone, or the process of change. This allows me to relinquish a degree of conscious control and expectation in exchange for feel and intuition, spontaneous, dynamic variations being favored over calculation and predictability.
When viewed through the filter of pure observation, and independent of social context, everything has elements of beauty. Without insight to what once existed, even unyielding industrial landscapes or the desiccated remains of rivers can hold elements that are aesthetically pleasing, despite being ethically offensive. A contrasting perspective built upon social context, and knowledge opens the scope beyond basic aesthetics to the underlying scars from mans perpetually destructive impact on one another, and on the natural environment – our resources: our lifeblood.
My work addresses these ideas, but at no time do I wish to emulate nature, nor imitate man's impact. Reconstruction of familiar elements into an amalgamated form that is not quite recognizable allows the viewer to give life to my work more than any literal representation could. Still allowing it to remain, for me, a unique and personal meditation on the fact that I exist in a moment where I'm biologically significant, but geologically insignificant. As a species however, the same cannot be said. Mankind has entered the new geological epoch known as the Anthropocene and our collective mark is immutable. I don't view my sculptures as static, but as stills taken from chaos and made palatable to the limitations of our understanding while subtly showing the lasting mark of our presence.