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.