Storytelling is an important component of my work. As an artist, I do my part to freeze one small moment in time, trapping a concept, experience, or emotion, and then release my hold as each piece is displayed and thus becomes open for interpretation.
As an instigator of these stories, interpretations from viewers are welcome, but it is not vital to me that specific references are understood by the onlooker. Deeply personal, my art is based on people and journeys I have been privileged to experience. These sculptural chapters are work created from a true need to manifest externally what is not completely processed internally.
For years I have maintained a respect and reverence for Art Brut, the art of the clinically insane, and have found its unbridled, raw energy to be a major influence in my work. While living in Germany, I had the good fortune to conduct private study of the Prinzhorn Collection, perhaps the preeminent catalog of psychiatric artwork in the world. The beauty, pain, and naiveté displayed therein will forever be a factor in my sculptural translations. Likewise, the parallel genre of southern Outsider Art has found its way to my clay and brushes. This work has been instrumental in the deconstruction of many years of formal art training. The untrained artist enjoys a creative freedom that is not bound by expectations or knowledge of materials, and it is this spontaneity and fluidity which is truly liberating.
Having lived and studied in five countries and throughout the United States, my love of travel is often recorded, as many pieces contain topographical references and compass markings. These journeys are intertwined with the subsequent clay figures, for without the one, the other would not exist.
Through my sculptural narrative, I sometimes resolve a disheartening feeling, sometimes make amends for a wrong, and sometimes relive a significant moment in life. My exploration and acceptance of living through art is often necessary for closing doors, so that others might be opened.