pinhole camera exposure, circa 2001

All that can be seen at this moment areshadowy shapes. 
—Alan Lightman, Einstein’s Dreams

As the world trends towards practicality, I am instead fascinated by the almost imperceptible stillness before, during and after the moment of discovery; still, frozen moments which slip away as soon as our analytical minds take control. My artwork aims to capture these moments, employing surrealist language in a dynamic approach. The experience is an intriguing game between real and illusory, questioning our social constructs. The imagery becomes the impossible; an illusion of imitation, which always arrives at its own peculiar destination.

I create subtle forms and drawings which combine aspects of the natural landscape with human elements. These pieces are designed to draw the viewer into other dimensions, exploring relationships between the human psyche and moments of chaos, solitude, tension, excess and absence. These emotions are woven within these fantastical landscapes, while leaving the physical state of the viewer undisturbed. The landscapes allow access into private worlds not unlike our own, creating connections across boundaries of time and space.

My recent sculptural work engages the relationships between nature, objects, and the viewer’s perception. Existing on an intimate scale, these pieces are immersed in the language of repetition, emphasizing the vastness of our surroundings. Each piece exists on its own, informing the viewer of a lost moment. However, when used to create a larger installation, a sense of overwhelming abundance takes hold. Materials are varied but are all centered on a cast (human) appendage. Each morphs into a corporeal object which spans the line between growth and decay. While some may push the boundaries of grotesque, each has a sterile yet playful appearance.

My drawing process is a fluid, unconscious act where thoughts transfer themselves to paper. I draw with graphite, using subtle yet complex line work depicting human, nature and object. When paired, one engulfs the other element, merging them into meticulously shaded masses. Within this merger, minimal use of carefully selected color directs the viewer’s eye to a moment that otherwise would be lost. This moment itself is inconsequential, but once merged with the landscape, transforms into the most significant element. The metamorphosis of the drawing extends across boundaries: the inanimate object and landscape become somatic, while the human elements begin to take on terrestrial characteristics.