My primary questions are rooted in the transition between 2D and 3D: When does one state become the other? How do I ďtake apartĒ a solid form and render it flat? How do I take a flat shape and make it 3-dimensional? I am very interested in creating a subliminal tension that evokes a visceral experience. The subtle tension is also magnified by the elemental qualities of graphite, the techniques I use to finish the work, and the scale of the work and distillation of space that is at the heart of my installations.
In developing the graphite forms, sometimes I make 50-100 drawings before I get a shape that is symmetrical but slightly skewed, which has a subtle tension that is sometimes felt more than it is seen. My aim is for you to feel the tension but not necessarily see it. The graphite sculptures are cast, formed and then highly polished, for days at a time. I place these objects in a finite space to evoke the experience of thousands of miles. Sometimes the drawings come second to a finished cast piece. In other examples, the drawings donít relate to a sculpture. They are studies in value and material. However, through process and form, the drawings done in graphite are intimately related to the graphite objects. I work with the paper as if it were a sculptural object, layering on more and more graphite, turning it, rubbing and polishing it. Like the graphite sculptures, they are smudged evenly and also erased and polished as they are being formed. The physical properties of the finished works do not have an opaque picture plane. Itís like looking into a pond: you see the glassy surface and at the same moment you see through the water into the depths of the pool.
Through the repetition of process, the sheer physical effort that is required to make my work, my brain becomes equal to the rest of my body. This repeated action creates a freedom from will and in order to do it for days at a time, for me, requires attention to breath. In this practice there is a release from thinking and a falling into breath that I am pulled into like the tides of the ocean. My hope is that the viewer can taste the calm and sink into the emptiness. At the same time, the works force one into a sublime tension between the beauty of the present moment in the space and the underlying tension of the geometry and material.