I have synesthesia. I see sound; it is a constant tease, fluttering ribbons of light in the air gently lulling me into a state of meditative presence. My sculpture is inspired by the marriage of the momentary, temporary nature of sound and the eternal, lasting quality of stone: two different states, conjoined by my hand.
My personal philosophy focuses on being present in the moment. Carving stone is a meditative practice, which allows the sculptor to become fully present with the stone, listening to the tone of each cut, strike and break. The formation of my artistic concept begins as a sound or a spoken description. I believe the desire to create, when spoken becomes the first act in the process of creation. The word begets action. The sound of the action in turn informs the next action and a cycle of near perpetual action and reaction molds the idea of the sculpture into a physical reality.
To reflect is to reconsider an experience. This mimesis is not the experience re-lived. Rather, it is something different, just as a reflection in a mirror; a photograph or a moving image is not the same as the original object. Rene Magritte laid the foundation for this understanding in his "Treachery of Images", as his painting is just a collection of pigments arranged in a way which reminds the viewer of a pipe, without presenting the three dimensional object to the viewer. My work follows this idea, I do not carve sound waves in stone, rather I try to reflect the sensual essence of what I experience with sound.
By itself, stone sculpture is a silent witness of human experiences veiled by time. From the Chauvet cave paintings which have become crystalized in calcite over the last thirty-eight thousand years to the fetish work exemplified by the Venus of Willendorf, we do not know the artists’ intentions with these works, art historians make educated, theoretical guesses, but that is all they remain: suppositions. The value of these ancient works lies in the evident human interest in creating sensual, tactile, representations of ideas that motivated the artist enough to realize their idea into the physical nature of stone. Today, these works of antiquity are treasured for their age and the glimpse they give into ancient worlds. I believe their intrinsic value speaks to the artist’s need to leave a lasting mark. Along side of humanity, stone is near immortal.
I desire to create aesthetically pleasing forms that link an idea, a moment or an experience. These sculptural objects will continue to exist longer than I can comprehend. Each viewer will have their own moment to get lost in the fluidity of my work, but their experience will be their own. They may catch a reflection of my intent in the work, but their own associations are far more potent. It is through our work that we attempt to marry the moment to the eternal. Even if future generations do not know my name, I hope their experience of my work will touch them in their own unique way.
Presently, working in stone allows me to go through a meditation in motion. These sculptures allow me to shut out the endless noise of consciousness and simply 'be' within the waves of stone, sound and time.