Inspired early in my career by Martin Puryear and Anish Kapoor, I am keenly in touch with the skill of craftsmanship and the singularity of materials that creates a focus on form, an importance of the object itself outside of any narrative. Engaging the viewer with that “importance of the object” is my first goal when creating public art: the audience has to want to look at it. Their first reaction should be a desire to see more; to explore the work. There needs to be a “wow” factor in place to pull them in. Beyond that, the work has to reveal itself in layers rather than all at once. Public art has a varied audience; from the “wow” people that see it only once while rushing to a meeting, to people that see the same work each day and are afforded the opportunity to peel back the layers and experience the nuances of the piece. My work is for both audiences.
I work primarily with mirror-polished stainless because of the visual variety it offers daily. As natural light changes, as the colors of the seasons change, even as people’s fashion changes, all these permutations are literally reflected in the work. The art is never quite the same from moment to moment. The curved facets of the sculptural surfaces pull apart our visual surroundings, distort and re-order them in unexpected ways, creating a new interpretation of the world we usually tune out and take for granted.
My intention with these pieces is to tune us back in.