Through my current body of artwork I explore the violence of humankind and the role each of us play in facilitating an endless cycle of barbarity. Americans, in particular, have seemingly become addicted to the state of war, in part, due to our desensitization at the hands of the media we consume. From video games glorifying killing, to twenty-four hour coverage of conflicts, to real time video of smart bombs dropping down chimneys; we have an endless supply of stimuli to numb ourselves. The pain and suffering endured by others becomes nothing more than flickering images on a screen.
Influenced by the assembly line fabrication of industrial machinery, weaponry and munitions, and even our food; repetition plays a significant function in my sculpture, being representative of both the products and people behind the areas of my explorations. This can manifest as hundreds of identical individual components combining to make a single piece or an echoing of identifiable form in seemingly disparate objects. Cast objects dominate the work, either in the more traditional mediums of bronze, iron, and porcelain; or more contemporary materials, such as silicone and urethane rubbers, foam, and plastic. These primary elements, repetition and casting, combine to create an industrial mass-produced sensibility to my artwork.
As a single cohesive composition, my work is intended to create a monument contradictory to the ones that dominate the landscape of our cities. While not in and of themselves, site-specific, the works become so in a general sense when contrasted to the memorials that glorify or romanticize war around the United States. These works are meant as a rebuttal to our public monuments, thereby rendering them site-responsive or perhaps even site-conditional as Robert Irwin described it in Being and Circumstance…
“Here the sculptural response draws all of its cues (reasons for being) from its surroundings. This requires the process to begin with an intimate, hands-on reading of the site”.