The sculptures are in a continual state of doing and undoing; building up and taking apart. I often work with wood, because, as a material, it is straight forward - easy to cut up and to put together, and just as easy to take apart again. It is everywhere - one the most basic and straight forward starting points. It is both found object and raw material. The constructions are often painted, sanded and scraped, re-painted, and then painted again.
They are stalled moments, passing thoughts, fragments, whole set ups, stacks. They are deliberately simple, taken out of context, seemingly unconnected; the omissions are as important as what is present. The scale shifts. Crossing boundaries - object and idea, painting and sculpture, light and shadow - they become blanks, unmediated, meant to be observed more than understood. These objects and images may seem quick at first glance, but take time to develop.
The works on paper are both simple gestures and expansive thoughts, paring down a scene to the essentials - getting closer to the nonessentials. They work on a different scale than the immediacy of the sculptures, where space and object play out on different terms.