I find in ordinary objects what I am looking for in myself. I’m envious of their capacity for purpose, and their established, comfortable existence in our otherwise uncomfortable world. I can’t resist my curiosity about the conceptual potential that lies in the form and function of ordinary things; Things that for most people are limited to their intended existence. I am particularly interested in manipulating the pre-existing relationship between the materials I use and my work’s potential audience.

The familiarity of an ordinary object is something I use to lure my audience in. It serves as a way for me to make an instant connection with the viewer, and provides a comfortable foundation on which to build a complex communication of ideas. I describe it in this way because I see the experience as a give and take, for both the work and the viewer. The viewer brings his or her ideas and personal experiences that are associated with the particular object I am using, and I bring a new idea that is related, but depends greatly on the assumption that they have already settled on this object as being limited to a particular identity. In some instances, this provides a unique experience for each individual viewer, which is particularly ironic considering the dependence of this whole process on the object being ordinary and familiar to everyone. To some, this experience initially comes across as a novelty, which well… is what it is… yet upon further consideration of the conceptual quality of the work, proves to be much more.

I consider my work to be heavily influenced by my interest in conceptual art. The ideas are what are important to me. They are my starting and ending point in all instances. Every decision made during the making and presenting of a work is made because I believe it is the most appropriate way to communicate that particular idea. There is a right and a wrong way to both make and present every idea. In this way, (and some others) I take a very mathematical approach to my work, which has most likely evolved from a lasting impression of early minimalist artists, for whom I have a tremendous respect. I feel a connection to the conviction in the in the minimalists’ approach. I like the efficiency of it. For them, it was sort of a less is more thing. For me, it’s a less is more appropriate thing. Or sometimes it may be a more is more appropriate thing. Whatever it takes to maintain the integrity of the idea is what I will do.

I consider my work to be relevant in many ways, especially at this time, in this country. It reflects an attitude of sarcasm and a sense of disposableness that seems be assumed, yet proves to be an accurate representation of our current American culture. The materials used are ordinary. They are familiar. They have established identities that I choose to manipulate as a process by which to communicate my ideas. The aesthetic is fairly simple, yet the ideas are adequately complex. As I’m sure all artists do, I consider my work to be a visual extension of my personality and evidence of my existence in this time, in this place.