My work uses the rawest of materials to create pieces of highly
civilized and abstract beauty. If civilization is the imposition of
human direction on raw power so as not to emasculate it, but to
channel it into beauty, this is what I’m after.
“I thought, if I could cut this one step out of nature - this is what I
want to do - create something that man has touched but hasn’t
I make sculpture of suspended shattered stone. I’m mesmerized by
the beauty of the rock, its compelling force. I want that power to
remain intact and balance against the lyricism and grace of the
suspending cords. The cords carry each rock with a slight vibrato, as
a musician plays a stringed instrument. The cascading lines beneath
the stone contrast their lyrical chaos with the parallel linear formality
above. The work should resonate both with the architecture of the
space it occupies, and with the materials from which it is
“I am interested in the ratio between classicism and chaos.”
The weight of the stones forms a vibrating set of perfectly parallel
lines. These shimmer in contrast to the wildness and the lyricism of
the coiled cords falling below. And they are held together by the
latent force of the shattered rock.
“The stillness of the piece implies the ability to move, almost a
crouch, a waiting to spring, the pause before the surge.”
I see my work as drawing and, indeed, dancing, in space. I love the
moment in a dancer’s leap when, after he has gone up into the air
and performed the desired actions, he (or she) pauses for a perfect
extra moment. Through force of pure artistic will, a great dancer
can stretch that moment, exquisitely, insisting on his power to defy
gravity, before coming down. It is that essentially human pushing of
the moment, that transcendence from mere craft into willed beauty,
that I find spellbinding - and a prime inspiration.
“It is unafraid of beauty… And somehow torn from time. To absorb
this sculpture is to leave the twittering here and now. It doesn’t deal
in the voguish, in grievance art, for instance, or fashion or celebrity.”
My work is rigorous, stripping away the superfluous and the
decorative. I strive for a sort of essence, a clarity that will allow the
work grace but not prettiness, rhythm but not contrivance, balance
but not inertness. I strive to animate, not merely inhabit a space.
“It’s a fine line, isn’t it, between telling the truth and parading the
All of the work is human based; this is portraiture, not landscape.
However, at base, I strive for the cleanest transcendence. I want the
materials to leap to a different plateau subtly, quietly, immaculately.
It’s a “high art” concept, a striving after a certain abstract, intuitive,
“What makes his work so eerie is that it feels inhabited. It seems to
contain presences. This is, of course, old magic. Pygmalion in the
myth made cold marble come alive. The seated Lincoln on the Mall,
far more than a chunk of stone, seems sleepless in his pondering.
Most modernist abstraction shuns that tone of wizardry. This art
retrieves it. Sometimes works of art transcend the stuff they’re made
of. What’s required is belief. ‘If you believe strongly you can pump
life into materials. You can, you really can, see them lifting off the
ground like some hot-air balloon.’ ”