There is a lot of play in my work, moving things around layers and layers of paint, and it’s in that last choice the work is not born but brought out to the world. Defining that choice is somewhat existential, not always conscious, but it does explain the result. I want the viewer to feel the work and be moved by it. I work mostly in combinations of forms that may seem random or found. Still, in reality, they are shapes I have created to work with other two or three shapes again created by me to talk in the language of sculpture: weight mass and space, line and movement, pressure and closeness, caress or pierce. But the pieces are simple forms assembled like Haiku poetry, minimalistic in nature and character.  These words come after the piece not part of the creative process.

You start to understand what’s important to me as an artist when you see a body of work. One-piece leads to the other. I don’t like repeating a form over too many times, but the work is a series of thoughts that may take a year or 10 years.