For a long time, I’ve been sculpting gravity and within this gravitational framework I fold fetish, animals, membrane and sex into the subject matter. I begin with a formal concern; that is, can I reproduce an existing object out of clay? The recent addition of the red stiletto into my repertoire, for example, is a response to a student dancer at last year’s Southern Utah University graduation, where I teach. She wore them so beautifully and gracefully that I tried to capture that joyous occasion in clay.
Lately, I’m less compelled to attach language to my work. I try to work beyond intellect, within a stream of consciousness and rely more on the visceral and intuitive. The test to determine if an idea is compelling and worth pursuing is that I stay engaged throughout the making process. The stiletto, for example, was intended to be a one- off, but when I began making it, the heuristic feedback loop began and more ideas came to mind.
As I begin to attach meaning to an object and idea a narrative begins to take shape. The narrative usually corresponds with memories or experiences from my formative years, but not always. Sometimes I stay with an idea simply because I appreciate the formal qualities of the object and nothing more. I suspect, however, that a more complex narrative will eventually reveal itself if I stay with an idea long enough.
While making any particular piece, I try to keep my inner critic at bay and wait until it is finished so that I can judge my work more objectively and from a less emotional point of view. I hope others value my art, but mostly, I make work to address my own particular artistic point of view and it’s my way of making sense of the world.