Throughout history, together with the architect, it is the sculptor who has been the specialist and guardian of the ever-changing 3-dimensional physical world in which we live. New production techniques and industrial approaches to handling form and surface have dramatically affected the organic character of sculpture, just as the problematic of economics, notions of progress and other ethical issues are increasingly the responsibility of today’s sculptor/artist.   His or her function is to engage these  material and sociological limits, confronting the interrelationships between humanity, art and society.

 

In some of my works, the modular repetitions of mass-produced images indicate our current place in time and space through their reference to eternity.  These compositions serve as a reminder that our sense of time is a construct, formed and maintained through an accumulation of moments designated by cultural labels.  In other instances I have questioned relevance, prestige and value by introducing the pedestal as an object.  

 

One recent sculpture is a reconsideration of time and how the ideology of manifest destiny has influenced the recording of American history.  A recent video installation raises questions about the way our physical reality and the passing of time are documented by the media as they use images and language to describe events.

 

Encounters with the world and the resulting cultural dialog are essential for society to progress towards its inevitable enlightenment.  Contributing to this dialog, my linguistic research confronts the dilemma of how to pursue an organic lifestyle in a mass-produced world, how to fulfill a poetic need within a statistical society.