In my work, I engage in ritual practice to explore the human condition. Ritual is combustible; by that I mean ritual practice engages in a combination of actions that combust to transform energies. Within its practice, ritual creates a realm in which time is completely modified. Rituals explore universal life truths, distilling a myriad of experience into a beautifully choreographed dance. Our collective connections are evident within these explosive celebrations of universal truths.

In process, the work begins with sensitivity to collecting objects resonating with traces of human engagement. These imbued objects often offer inspiration toward the direction and articulation of the piece. The energies encapsulated within the objects are combined with other objects of interest, which each bring their own evidence of human engagement. Together they are fermented, contained together in an effort to meld the energy as one. Changes occur within the fermentation process; patinas may develop or the objects themselves may connect to one another while in confinement. When, in their own time, they have steeped together, they are unsealed and the work begins.

The combinations of energies often reveal their relationships to one another while in the fermentation stage. They are then woven together, generally without a traditional armature, but rather intricately linked through weaving vectors, built to define a singular energy guided in the choreography of fermentation and concept. Built in series, or as I think of them, in families of works, there is an ongoing genesis of development derived from their own ancestral lineage. Each new creation carries the lessons learned and often traits from the previous families.  Sometimes witnessed in the continuation of materials or in ways of binding, feeding the work with layers of connectivity to the history of each family’s development and reflecting a prism of human condition in the work.