My work is really about what you don’t see: the energy latent in the world itself. This power constantly surrounds us, yet we walk right past it in out daily lives.
Two vocabularies articulate these energy fields: light, and its transformations, and motion.
I manipulate light by breaking it down into the spectrum and projecting it throughout the environment. When light strikes the prisms which form the structural members of my work, they refract brilliant moving rainbows, with sun flares like balls of fire in their depths.
Many of my outdoor works function as monolithic wind vanes, constantly hurling upwind, like a sailboat riding at anchor. Despite their massive size, these works are so aerodynamically sensitive that they respond to the slightest breeze.
Others are a series of Bridges and Passages based on the vocabulary of architectural minimalism. The world inside the Passage is transformed by the bands of rainbow light refracted by the prisms that form the piece’s structure.
In my atrium works, these prisms are joined by hanging airfoils, which derive their movement from the air currents created by the building’s internal environment.
This work is pure Constructivism, using sophisticated industrial materials and techniques, like architectural stainless steel and polycarbonate prisms. It is highly complex to construct, and it is only an illusion that it is “untouched by human hands.”
While it also refers to the Minimalists in terms of its design, unlike the Minimalists, I do not distance myself from the work by having it fabricated, but create it in my own studio, usually working with inly one assistant.
The drama of these works comes from the juxtaposition of their space-age materials and minimalist design with the phenomena of the natural world. They make us aware of the energy slumbering in the air around us, and lead us to see it with new eyes.