My work examines boundaries, warnings and lies.
My sculpture is strongly influenced by the megalithic stone constructions found in Ireland, France and the British Isles. I am drawn to these structures not only because they are some of the earliest indications of large scale sculpture and architecture, but because they continue to have a strong impact on the modern viewer. They are a real part of our neolithic origins and for many, including myself, initiate a strong emotional response.
Standing a huge stone upright in a particular place was some of the first permanent, site specific alterations of the landscape. The erection of the stone, or stones, designated itself, and the space it occupied, as particular and special. The stone not only activated the space it occupied but became symbolic as well, reaching beyond its place, time and materials.
I make my art with steel and concrete, man-made materials found commonly in our contemporary world. They are as available, accessible and reasonable for me to use as were the giant stones at sites like Stonehenge, Avebury or New Grange in their time. My need for making these works is similar, I feel, to thoses of my neolithic ancestors. It is about altering a place and making it extraordinary. The interaction of sculpture and space not only activates the real, sensual and physical environment but also invites the viewer to experience personal associations about them.
My series of sculptures "Land Buoy’s” reflect my move to Chattanooga, from rural North Carolina. Although these sculptures are still influenced by my love of Neolithic standing stones , the visual stimuli of my new downtown life include a variety cautionary symbols that have crept into my psyche and altered my work. Railroad crossings, river buoys, even the industrial caution stripes on a set of stairs outside my studio are all non-verbal warnings that are a larger part of my daily existence. My new sculptures reflect that.
This series of wall reliefs began in 2010. They are a direct result of work I have done on the Land Buoy sculpture series. The cautionary stripes that have been showing up on these sculptures have taken a more dominant and graphinc role on the flater surfaces of these painted wood panels. The stripes intereact with the three dimensional elements in a variety of ways sometimes emphasizing them while in other cases masking them. The 3-d elements are made of a new form of light wieght cermaic cement applied over carved polystyrene forms.