Artist Statement

STATEMENT FOR PAGE BOND GALLERY SHOW — Resting On Is Relying On

Thoughts on these sculptures:

An important concept that I gather from the experience of these sculptures, individually and therefore collectively, is that of listening. To whom and to what do we listen are more important than this everyday ability suggests, substantially impacting the choices we make and the way in which we compose experience. These pieces have a quiet balance, and their composition (the ordering of mass according to gravity) tends to create ambiguity in each element’s importance. There is no rule stipulating that being on top of rather than supporting from underneath is of primary importance. The result is a subtle intensity.

All you need to know (2014) is rather straightforward with respect to the function of a phone and the talking/listening process. This piece deals with being compelled to cease the endless dialogue (or running monologue). Pull together Now, The Imposter’s Charm Is Without Recourse (2014) makes prominent a found natural object by placing it in a comfortable, honorable position on an ottoman while It Will Return Even Without the Receipt (2014) attempts to do so with an imitation.  Simple Deference to the Contrary (2015) plays with a similar relationship in that it juxtaposes a natural (discovered) shape in granite with a rationalized (controlled) quarried piece of marble. A Splendid Defense of “Possess” (2016) and  I’m afraid the thought made it the case (2015) can be interpreted as involving consequences for a lack of genuine listening, whether to the non-verbal expressions of nature or to the indefinable within.

All of these pieces are ripe with ambiguity.

 

 

STATEMENT FOR PAGE BOND GALLERY SHOW — How Do You Know?

– SEPTEMBER 2013

It is difficult to select one unifying element for this body of work as there are many that would suffice: the process of defining, repetition of expression, philosophical conundrum, or perhaps the desire to know and thereby control. What I have attempted to do is to develop records of philosophical/analytic activity that could (if successful) develop conceptually and emotionally perplexing experiences in you. I hope you will find lasting value in the experience of these pieces.

list of pieces in the show: A piece of the conversation, Maxims of Sculpture, Summary, Self Evidence, Nothing is Necessary, Map 111, Map 701, Tablet, Anti-Intentionalism, Anti-Intentionalism Redux, Thing In Itself.

 

 

ALTERNATIVE STANDARD STATEMENT:

I did them.[1]

 

 


[1] My statement might seem capricious but I will state about my statement that it is not.    If I tell you why I did what I did will you have fully exercised your own beliefs, emotions and reasoning?  Is the unmediated sensual experience not the most impactful experience? If I supplement the perceptible work with written explanations of my intentions will I not have failed to afford you such an experience?  It is often the case that pointing out some of the references and relations within a work is helpful for the engagement of an audience, but that is the role of the critic. And besides, Robert Almeder said that’s what he would say, and if anyone can claim to know anything about anything, it would surely be him.