ABOUT THE ARTIST

My pursuit of a unique voice and personal methodology to generate imagery of interest has led to many invaluable discoveries and open investigations of merit. My Optical Block, Shatter Work, and 360 Series share a singularly rich and innovative vernacular. Though I have delineated separate series, or sets of imagery, each reveals a parallel strain of the same project and aesthetic vision.

My research into potential materials, processes, and contextual applications is ongoing. Presently , I am prepared to accept commission arrangements for more substantial works to be constructed of highly polished sheet aluminum or stainless steel , and , if called for , colored sheet glass in combination with either.

I grew up in the Los Angeles area, where I earned my BA in Fine Art at UCLA. There, I continued my studies at the graduate level for a year before leaving for France, where I attended classes at the Ecole des Beaux-Arts in Paris. An unexpected two-year expatriation living in Paris saw me matriculating through that mystical rite of passage, which the French refer to as one’s “voyage de formation”. I returned to the U.S., to San Francisco, and later to Mendocino County, where I now live in the aptly named town of Boonville, California, just three hours north of San Francisco. I have recently received the Abbey Foundation for the Arts’ Artist in Residence Studio Grant for 2006-2007.

Currently offering for sale original prototype models and series photographs as collectable works.

Also seeking professional representation for placement of the work

ARTIST STATEMENT

In the broadest terms, my work offers an investigation of “transparency” as a distinct aesthetic category of imagery. In terms specific and unique to the work this notion generates, I use opaque materials to simulate transparent objects. To achieve this effect, I arrange non-transparent mirror-finished sheet materials vis-a-vis one another to emulate the effects of various transparent solids. Their resulting appearance, then, tends to mimic such objects as glass blocks, heavy shards and sheets of broken glass, precious gems, and other clear or crystalline forms. These deceptively descriptive open-form arrangements of mirrored sheets imply volume, to suggest a weight and a continuous faceted surface; presumed attributes of each piece that are, in fact, non-existent.

Working empirically from this strategic notion, I carefully adjust the reflection and angle-of-incidence throughout these open-form structures, allowing spaces left empty between mirrored sheets to be filled in by the eye and expectations of the viewer. As viewer engagement with the piece eventually reveals the perceptual and contextual displacements involved, the re-envisioned encounter underscores the viewer’s own gaze and physiological placement/displacement in relationship to the work as an event.

This idea of the encounter is integrated within the structure, and unfolds through a series of uncanny moments where the relationship between what is known remains alluringly at odds with what is seen. My challenge in the process of constructing and conceptualizing each work is to assure its performance in sustaining that regard, with the intent to offer the viewer fascination as the work's subject and functional purpose.

Within this suspended state, a structural intangibility, rarely expected in sculptural space, brings the work’s object status into question. It recasts, also, the traditionally more passive position assigned the viewing subject. The mirrored material used, and the relational arrangements involved, directly implicate the physiology and psychology of a personalized perceptual event. Reciprocally, this perceptual and cognitive experience appears as integral to the “self-reflective” structuring which forms the unique character of the work.