My sculptural work is meant to be something of a cross between religious iconography and bowling trophies. Like bowling trophies they are personal; like religious icons, universal. They are accessible in scale and imagery, yet there is a mysterious aspect to their content.
They are intended to be objects of transference. While I, as the artist and creator, have imbued the object with a narrative of my own, and in some cases supplied a title, the viewer is forced to supply their own meaning due to the ambiguity of the symbology supplied.
This work ties into my interest in the post-modern prevalent narrative identity thesis that postulates our identity is a function of the story we tell about ourselves. We all construct a personal consciousness derived from the memories we have selected. Think about Facebook and the public personas we develop on social media sites. In this world of hyperconnectivity, with “personal profiles” becoming branding opportunities, we have become ever more aware of our own public persona and the face we present to the world. This website is perfect example. What would I look like if I were a sculpture?
Post structuralism, on the other hand, suggests that meaning (truth) can never be fully achieved because meaning is entirely dependent on context. That is to say, personal viewpoint trumps authorial authority and the viewer gets to decide the meaning of a thing. Who, in other words, gets to define the word “torture”? Or what Edward Hopper’s, “ Eastside Interior”, 1922, means? Or your latest post? Or one of these sculptures?
This work means one thing to me and something else entirely to you. And that is how it should be.
This work is constructed by pouring slip into molds, altering and assembling the various components, cleaning, bisquing, glazing and refiring. For the most part these have been fired in cone ten reduction, sometimes with applied glazes, sometimes with just metal oxides, sometimes with a combination of both.