I am a cross-disciplinary artist who works with industrial materials and digital media to create public art and media installations. My projects are designed for built environments, and invite viewers to interact with site-specific installations in settings not usually designated for artwork. I combine sculpture, drawing, installation, and digital media to develop three interests: the influence that biological organisms and human technologies have on the visual expression of thoughts, emotions and written language into art; the workings of the human senses, particularly sight, hearing, and touch; and the development of large-scale sculpture for installation in unconventional environments. more…
My interest in human perception is coupled with my research on the links between the biological structures of our evolutionary predecessors and the forms and functions of contemporary technology. In 2005 my study of the relationship between paleontology and sculpture led me to create Petriflight, a sculpture of a full-scale helicopter made from carved dinosaur bones. The piece fuses the remains of an ancient world with a contemporary flying machine in order to offer an alternative reconstitution of the archeological fragment. While paleontologists piece together a body and theorize a way of life from bones and fossils, Petriflight moves from the forensic to the fantastic as an alternative representation of human technologies. While reflecting on our civilizationsâ€™ relationship to pre-human histories and contemporary technologies I developed works that explored our perceptual senses. My sculptures of the human senses emphasize their biological forms, while altering the perceptual ability of seeing, hearing, and touching through media technologies and strategic installations.
I am currently exploring relationships that micro-organisms, language, and technology have to sculpture and digital media. I am producing artwork that explores the impact of technologies on the culture of human invention by looking at pre-human history and by studying writing systems. I am interested in how current relationships to sculptural objects and to the obsolescence of media technologies change as representation becomes increasingly portable, less physically tangible, and less durable. I have been exploring various roles that public sculpture play as a purveyor of thoughts and emotions reflected by our current technological climate.
A second path of inquiry traces technology within the context of writing systems that have developed through human civilizations and are now merging into digital technologies that rely on a number of layers of sensory perception. I am integrating written languages both as an expression of human experience and as a series of sculptural elements in public contexts. I am creating sculptures that depict language and ideas that respond to the characteristics and history of the environments in which they are installed. The form of this body of work and its core subject, written language, is an evolution of concepts that I started to explore in my pieces Arrest, Table Talk, and The Book. I am continuing to make sculptures that use the characteristics of written language, such as book forms, codes, and type to investigate the phenomena of printed or written language. The goal is to merge sculptural forms with linguistic forms in order to extend the relationships between the physical experience of seeing language sculpturally while reading.
In my research on the senses and specifically touch I am translating various tactile sensations into sound, video and sculptural installations. Through the use of digital media I am exploring whether the personal experience of being physically touched can be transformed into sculptural objects that lead to a deeper understanding of the subjective sensation. My sculptures of a 6-foot finger and a 12-foot hand that reverberates with the sounds of touch receptors firing, depict the less tangible notions of touch and allow me to traverse the field of sensory perception. The hand and finger were preceded by the Roaming Eyeball, which has rolled through several cities videotaping its path and An Ear to the Sky, which has floated in three harbours and most recently been installed on an exterior wall of a gallery recording sounds in its vicinity. After completing aural and visual pieces that were large relative to the body but diminished by the natural environments they moved in, I began to turn my attention to the more subjective and deeply internal sense of touch. The exaggerated size of the twelve-foot hand and six-foot finger magnifies their ability to meet and intercede in the world, reflecting what I believe to be the true scale of their roles as the carriers of sensory messages and the agents of human will.