Stepping away from my carpentry work to devote more time to the studio has been transformative. It’s not solely about increasing my artistic output; it’s equally about adeptly managing the operational facets of being an artist. This newfound equilibrium has translated into greater sales and opportunities to showcase my pieces in renowned art spaces.

With this transition, my art has experienced a renaissance. The scale has grown, the images more compelling. I'm exploring a palette that transcends aesthetic pleasure, reaching into the realm of emotional resonance. The satisfaction I find in my current work is unparalleled.

The artworks presented here mark the preliminary phase of my latest collection. At the midway point, my goal is to complete this series by the end of February. The anticipation surrounding the potential of these pieces is exhilarating.

I'm confident that my artistic practice is at a turning point. I’m charting a course toward increasing recognition and am enthusiastic about the journey ahead.

My artistry delves into the core essence of ingots—those condensed, invaluable representations of accumulation and time. Just as ingots are mined, stripped away from the distractions of their surroundings, I seek to distill the environment around my work, reflecting only the purest, most elemental facets. They stand as a metaphor for the elements we understand and those we have yet to encounter—hidden secrets from vast celestial realms that challenge our very understanding of matter and existence.

The universe, with its vast mysteries and intricate processes, serves as a rich canvas for my explorations. I am enamored by the interplay of forces that shape existence—heat that melds, time that transforms, erosion that sculpts, and the myriad methods of friction that reshape everything they touch. This fascination extends into my art, where I incorporate the waste and byproducts of these processes, breathing new life into them. The cyclical nature of existence, where today's abundance becomes tomorrow's rarity, is a recurring theme in the timeline of my pieces.

While I consciously distance myself from the prevailing standards, theories, and transient trends of the contemporary art world, my deepest desire is for my work to resonate on a universal scale. Every piece I create is a personal journey, a narrative of skills laboriously honed over time, moving from the wide-eyed wonder of naive curiosity to the seasoned gaze of expertise. I believe that within the dance of colors and the harmony of compositions, there exist age-old secrets, whispers that nudge the viewer to see beyond the obvious, to recognize that duality can exist in a single gaze.

The world today is a cacophony of contradictions, overburdened by jargon and masked intentions. My art seeks to offer a respite—a space devoid of overt representation, offering instead a reflection of raw, unfiltered emotion and thought. It's a rebellion against the mundanity that is creeping into our existence, the dilution of meaning and essence. Amidst this, my work pronounces the truth in its evidence of the genuine labor that goes into its creation.

In a landscape of shifting values and uncertain tomorrows, I find solace in my art. It's a journey towards self-realization, an endeavor to understand my place in this vast universe, and a humble attempt to share that understanding with those who engage with my work.

Nature produces monuments and landscapes humanity can only ever dream to replicate. In essence this work accelerates and embellishes natural forms of accumulation and erosion. While it could be said that they are emulating nature, specific methods and materials are used to disrupt the relationship between our earth-bound perception and evoke the true synthetic characteristics within each piece. Jarring color changes and manic tooling are employed to convey alien topography and disrupt the immediate association to scenery that we collectively understand. Many of the pieces denote a trace of kinetic energy. Whether it be from the tracks of a hyper aggressive machine or the arrangement of randomized pieces placed in wet substrate, they are meant to epitomize the chaotic order found in our reality.

My work conjures up mass in a real and implied way. The works are all very heavy and the arrangements within are tightly stacked and economic in composition. Their texture produces an overwhelming craving to be touched. When the density and surface are combined, they draw the viewer into a desire to handle the works in a way not typical to the inspection of art. The most consistent element is the craquelure that marks the evacuation of water from deep within their structure. This transformation takes place in all of them and marks an end to malleability and an evolution into a raw product waiting to be shifted to another form.

Our visions of the future are inextricable to our concentration on the present. We can’t help but look to a plausible next step for the technology and cultural development we already understand as a glimpse into a future that is difficult to foresee. These small incremental aspirations bring with them the pettiness and redundancy that exists today. Imagining a departure from our time and ourselves is impossible. We can only imagine the edges of what we already perceive. These works are visualizations of that edge.