Speech belongs half to the speaker, half to the listener.
- Montaigne
My work is primarily focused on how meaning is revealed through artworks by an artist, and to what extent the viewer is indispensible in interpreting and injecting content. Art bears greater power and relevance through ambiguity. It transcends commonality by remaining open, provocative, and to a certain degree unclear and unfinished, rather than presenting a banal package complete with an image and a corresponding narrative, leaving little or no room for viewer engagement.
My work is a product of and a participant in the historical tradition of sculptural art. There exists within our collective, common artistic evolution a connection and camaraderie spanning past and present through our chosen subjects, and a tension between direct, reproductive modeling and abstract suggestion in our approach to the interpretations of the imagery we elect to use. The ambiguity I strive to employ in my work is actualized by a combination of elements from these two extremes. On one side exists a literal depiction of an object, no more than a prop in a tableau, involved in an explicit scenic narrative - an illustration with little or no conceptual provocation. On the opposite end of this spectrum is a kind of work so intent on being ambiguous that it looses any connection to any possibility or suggestion of conceptual tangibility, thus becoming unclear, encoded, and confusing, ultimately resulting in viewer disengagement, exclusion, and irrelevance.
The inclusion of ambiguity coupled with the implied or inherent content of recognizable forms and materials allows my work to transcend the enclosed relationship between my self as the maker and it, as the object made. An unspecified, ambiguous intent assists the accessibility of an artwork by engaging and including the viewer, recognizing their distinctly personal interpretation as an indispensable component in the manifestation of art.
- Montaigne
My work is primarily focused on how meaning is revealed through artworks by an artist, and to what extent the viewer is indispensible in interpreting and injecting content. Art bears greater power and relevance through ambiguity. It transcends commonality by remaining open, provocative, and to a certain degree unclear and unfinished, rather than presenting a banal package complete with an image and a corresponding narrative, leaving little or no room for viewer engagement.
My work is a product of and a participant in the historical tradition of sculptural art. There exists within our collective, common artistic evolution a connection and camaraderie spanning past and present through our chosen subjects, and a tension between direct, reproductive modeling and abstract suggestion in our approach to the interpretations of the imagery we elect to use. The ambiguity I strive to employ in my work is actualized by a combination of elements from these two extremes. On one side exists a literal depiction of an object, no more than a prop in a tableau, involved in an explicit scenic narrative - an illustration with little or no conceptual provocation. On the opposite end of this spectrum is a kind of work so intent on being ambiguous that it looses any connection to any possibility or suggestion of conceptual tangibility, thus becoming unclear, encoded, and confusing, ultimately resulting in viewer disengagement, exclusion, and irrelevance.
The inclusion of ambiguity coupled with the implied or inherent content of recognizable forms and materials allows my work to transcend the enclosed relationship between my self as the maker and it, as the object made. An unspecified, ambiguous intent assists the accessibility of an artwork by engaging and including the viewer, recognizing their distinctly personal interpretation as an indispensable component in the manifestation of art.
