Modern societies measure wealth by amounts of things owned and discarded. I tend to carve, cut and otherwise destroy things in my process, leaving intact glimpses of the objects’ integrity as homage to those who once experienced them.
My current direction derives from a moment’s thought when ancient and futuristic histories collide like a rebirth of a Neolithic period–paralleling today when we’re able to observe an emerging technology boost society into a new modern time.
Clothing wears out; metal and wood tarnish and crack. I use recycled materials found in back alleys and thrift stores. Combining elements from different time periods conjure emotional memories and entertain a intuitive dialogue about producing material indulgences—a phenomenon that limits our existence through it’s irreversible damage to the natural world.
The carving series I’ve been working on for many years has stretched my attention span to new lengths because of its slow and tedious process. The found (larger-than-life) log sculptures have reminded me of dysfunctional antique wooden toys combined with the concept of ancient idols–absurd in a modern context.
The vocabulary of “handmade” is symbolic of an era when crafts like sewing, metal work and woodcarving served a function and impracticality unheard of. Items were made so they could be repaired instead of replaced—contrary to the current direction of cheap consumer goods, made to live a short life—to be tossed after a season, their existence literally a ploy to keep the economic engine turning.