A starting-off point for me is often the question of how I want to interact with a particular piece. In considering what I want that interaction to feel like I look for an unanticipated experience, i.e. a rotating door that asks you to embrace the cabinet or the absence of a handle that invites a more direct experience of touch.
In my exploration of form, I look for the sensation of emotional resonance with a well executed curve or sometimes just a single mark that can energize an entire piece. When that happens the work starts to feel like a conversation.
A starting-off point for me is often the question of how I want to interact with a particular piece. In considering what I want that interaction to feel like I look for an unanticipated experience, i.e. a rotating door that asks you to embrace the cabinet or the absence of a handle that invites a more direct experience of touch.
In my exploration of form, I look for the sensation of emotional resonance with a well executed curve or sometimes just a single mark that can energize an entire piece. When that happens the work starts to feel like a conversation.
In my exploration of form, I look for the sensation of emotional resonance with a well-executed curve or sometimes just a single mark that can energize an entire piece. When that happens, my conversation with the piece has struck a vein that it's asking me to follow into a deeper exploration. It's a completely visceral experience, and a bit of a trust fall.
A starting-off point for me is often the question of how I want to interact with a particular piece. In considering what I want that interaction to feel like I look for an unanticipated experience, i.e. a rotating door that asks you to embrace the cabinet or the absence of a handle that invites a more direct experience of touch.
In my exploration of form, I look for the sensation of emotional resonance with a well executed curve or sometimes just a single mark that can energize an entire piece. When that happens the work starts to feel like a conversation.