At a deeply residing level within, I am profoundly affected by the visual folds, shapes, and the highly textured or abrasive marks of the vast, natural environment. This would include the marks of all living things. When my interpretation of them is transferred to a matrix they become an ambiguous environment of their own.
Initially, and essential to the idea, an organic shape is cut from a wood veneer panel. I become intensely involved with the surface of that shape, manipulating, often gouging or scratching it. At some moment of impetus, medium is laid down, depositing sculptural effects. Meaningful and random objects, possibly tea bags or fragments of wasp nests, are imbedded or adhered onto the surface. They symbolize human and biological interconnection. Layers of colour, then, without plan, synthesize with the forms and textures. The surface leads me.
I am compelled to create a Utopian environment, one shared by all forms of life. My textured abstracted compositions metamorphose into idealistic landscapes. That idea is in stark opposition to the popular belief that nature is a provider of convenience. She is viewed as product for consumerism, manipulation and plunder. Involvement with the art surface removes me from that deeply disturbing reality.
The tangible matrixes of my art are there for investigation and provocation of thought.