My process involves problem-solving, not solving problems. An ingrained impulse prompts my restless and playful nature to challenge and direct my otherwise untamed perception of the world. I am preoccupied with the nature around us and within us and the history we have made and that we make, a history defined not by time but by energy -- as is nature, and as is art. I make art not just to produce objects, but also to explore phenomena, whether they occur in the world or in my dreams, as thoughts in my mind or as rocks on the ground.
I work with a wide variety of pictorial media, and in all of them, I welcome the unexpected, materially and procedurally. This keeps me in an open, vulnerable position by challenging any notion I may have of “mastering” a medium or method.
In my process, I avoid conscious intention and instead favor subconscious association. I develop my compositional elements by extracting, articulating, secreting and re-exposing new identities — identities that are estranged but connected. Combining means and modalities – carving, miniature painting, gestural abstraction, etc. — accords naturally with my academic training.
My photography also resists categories of subject matter and process. I do not photograph with such distinctions in mind. I look for relations and connections among my subjects, regardless of conditional references. I shoot straightforward pastoral scenes but I also, literally, walk through minefields to capture the subtle tension of a once-tumultuous landscape. I don’t seek to document places or events with my photography; rather, I am sensitive to the perception of light and movement in the drama of the moment.
I resist the tendency to simplify the world through categorization into kinds of things, or kinds of art. There are no categories for me, only experiences.