Being one who has always been as fascinated with process as with product (Brunelleschi’s hoists and winches as much as his dome; Michelangelo’s scaffolds and sketches as much as his ceiling), I will attempt to describe some aspects of my work in terms of process in such a way that it also sheds light on what I hope it may mean.


In practice, my work involves an ever-growing number, or family of techniques, ranging from simple stone-on-stone sequential laminations, to the incorporation of colour and considerations of angular adjacency, to the designing for subsequent effects of surface shaping on the behaviour of the resulting lines of interface. Then there are the ever-growing number of techniques that are developed to enable the execution of ever-more-demanding new designs. These last comprise the wide range of techniques that, though not always visible in the final result, are nevertheless those without which none of what is seen would even be possible.


There are many avenues of interpretation that can be explored in relation to the composite and constructed natures of the medium itself and its application to various given subjects. One of the most obvious, and perhaps even most imperatively the one from which all others must branch, is the direct metaphor to the composite and constructed natures of the self. We are not merely our outward shapes nor our professed declarations; we are also those individual elements, interchangeable structures, underlying assumptions, and imaginable continuations/extensions that may not be readily perceptible, but are nevertheless integrally essential to who and what we are.

All of the above can of course also be said for every thing we encounter in our daily experience. Whether we’re exploring the worlds of physical matter or those of ideas, every thing can be unpacked and interpreted and its constituent elements recombined to make new things. Even the so-called “atom,” it turns out, is not indivisible.


By drawing elaborate attention to these composite and structural natures of everyday objects, I hope to invite the viewer to be as creative as possible in the ways in which they may view/notice/interpret/construct the everyday experiences they normally inhabit.