Things have an internal equivalent in me; they arouse in me a carnal formula of their presence. Why shouldn’t these correspondences in turn give rise to some tracing rendered visible again, in which the eyes of others could find an underlying motif to sustain their introspection of the world?
Maurice Merleau-Ponty, Eye and Mind
...to make visible how the world touches us
Merleau Ponty, Cezanne’s Doubt
Beautiful and bright it should be on the surface, feathery and evanescent, one color melting into another like the colors on a butterfly's wing; but beneath the fabric must be clamped together with bolts of iron. It was to be a thing you could ruffle with your breath; and a thing you could not dislodge with a team of horses.
Virginia Woolf, To the Lighthouse
...When Rodin gave unity to his works by the climaxes of the planes, when he increased elevations and gave greater depths to hollows, he dealt with his sculpture as the atmosphere had dealt with things exposed to it through centuries.
Rainer Maria Rilke, Auguste Rodin
Artist Statement: June 2021
Drawing and sculpting are how I make visible how the world touches me. While I’ve worked in other media, I continue to return to drawing and ceramic sculpture for their immediacy — their capacities to record my impressions in both the visual and tactile sense of the word. Drawing, I translate the sensations that graze my eyes with a dash of my pen. Sculpting, I feel my way toward expressions of spatial patterns that resonate with how I inhabit or envision the world, achieving volume through the varied pressure of my fingers, hands and thumbs. While involving an intimacy with the very surface of things, these endeavors are hardly superficial. On the contrary, I see my processes as means of revealing patterns of my unconscious mind, not in the abstract but as they take root in the body or emerge in dialogue with physical reality. Touch, as architect Juhani Palasmaa observed, is the “unconscious of vision.”
Throughout both my drawings and sculptures form emerges and recedes, undulating between light and shadow as if suspended within a continual process of growth and change. This is perhaps as much a reflection of my creative process of sensing and responding as it is an analogy for the unceasing transformation of nature itself. In my ceramic sculptures this pattern has recently pointed the way toward a series of sculptures based on clouds. These evoke the emotional tensions awakened in my observation of a phenomenon that is continually re-creating itself with every moment. As a static embodiment of a transient phenomenon, these encapsulate my interest contemplating phenomena in the midst of transformation. “Things have an internal equivalent in me,” writes philosopher Merleau-Ponty, “they arouse in me a carnal formula of their presence. Why shouldn’t these correspondences in turn give rise to some tracing rendered visible again, in which the eyes of others could find an underlying motif to sustain their introspection of the world?”