As I ponder this statement, I realize that the essence of what my work conveys is a duality. The ability to harbor two very different, even opposing, elements or concepts at the same time. Whatever the work has dealt with thematically, I have always been working with the conflict that lies within balance.

This is also the essence of my life, my thoughts, my being. I have always felt this subtle tension within, a controlled sense of chaos, an agitated sense of composure.
Likewise, I have always striven to have my work dance along the ridge between differing worlds, to speak in various languages, making multiple statements.

My latest series ‘Blossoms’ does just that. At once speaking of fantastic sculptural botanic forms and at the same time alluding to classic vessel forms. In so doing they let off an air of function, but not in the utilitarian sense. They do not serve as tools for human hands but instead they serve their own purpose.

These ‘Blossoms’ mysteriously function as reminders of the polarities inherent in our human existence, of our daily struggles to weave our way through the maze of the pleasures and torments that life lays at our feet. The forms with their lush sensuous colors and spiky textures are simultaneously inviting and forbidding like many of life’s most desirable attainments.

I can see that what I am trying to express is not a new concept. Throughout all of time we, as humans have succumbed to the same emotional forces in our lives. Each in his or her own time has attempted to so eloquently express the human condition through the particular tools or experiences available to them in their time. In essence everything has been done and everything has been said before. Our challenge, as artists is to say it in a language that is true to our time and true to ourselves. I have dedicated my life to finding my heart and deciphering my tongue.

Public Art, these days is rarely put on this kind of pedestal so to speak. Yes, there is still the use of the large major stand alone sculpture plopped in front of a structure. However, more interesting I think, is when public art is allowed to integrate itself into all areas of a structure or space. Public art is most successful when coexisting with the space and the people who use it and not just serving as the lovely carnation on a handsomely tailored suit.

I think that it is my background training in ceramics, a medium steeped with a functionally based tradition, that has given me the basis for my approach to public art. When designing a piece for a space I generally begin with a functionally based rundown of the space. Is it a rush through kind of space,where people would spend very little time, a waiting area, a final destination or a combination as is often the case. What will be the mood of the space? Will it be quiet, solemn or noisy excitement, filled with anticipation? This helps me formulate what concepts or feeling the work should convey. Then I consider the architectural features of the space. Instead of searching for the biggest blank space, I often find myself checking the details of the blueprints for areas that I can accent or vitalize.

Another thing I like to incorporate into my public art design is the opportunity for varying levels of perception. I like the piece to have a strong visual impact from a distance or from a perhaps more harried experience of the space. But I also like to incorporate elements in the piece that can be experienced from a closer and more relaxed viewing. I enjoy offering the user of a site an opportunity for discovery and delight.

I try to approach every public art opportunity with a completely open mind, ready to take cues from what the space has to offer and what the space may seem to need. With each piece I have worked towards creating a new and different challenge for myself which translates as a piece unique and distinctive to its individual site. My various public art projects, I think, are related more by how you feel viewing and experiencing them than how they look at first glance. I guess I can say that rather than a signature look, my public art has a signature energy.

I have had the privilege of working with all age levels, from preschoolers to senior citizens. Fourteen years of working with such diverse groups of people on these types of projects, has developed in me, the sensitivities and skills that have enabled me to interpret, channel and organize their individual creative energies into a cohesive and visually commanding collaborative piece. I continue to find these types of projects to be an exhilarating and eye opening challenge.