I have been given the special opportunity to work largely in steel this year. As I continued to work with it, I discovered its expressiveness in that I could have a physical gesture or construction in mind, and create it instantly but preserve it indefinitely. Welding became my pencil in space. My works are linear constructions that mimic specific gestures present in both plant life cycles and physical human actions. I build them to give conviction and breath to a material that originally had none. Bending my will to the hardness and ferocity of the steel, a sort of reciprocity is built between the object and myself, each of us compromising to come to a new conclusion.

I am devoted to process, interaction and dialogue between things. Like my own will, every environment or new construction creates the piece anew. I find that when people view my work in landscape, they associate it with plant life. When they interact with it in a gallery setting, they associate it more with the human form, or themselves. This is not illusion, but rather a necessity to place subject on the form. In reality, these postures or movements are the same in both subjects. These two associations indicate that I am creating an inorganic form into one that could come to capture the physicality’s of organic forms. From repetitive study of the landscape and the figure I come to recognize commonalities such as gesture between these living forms that are often strictly contrasted.