There is a marked complexity and sophistication of development in which my work has evolved from strictly two-dimensional hangings to the three- dimensional installations of spatial experiences. The tapestry wire-weavings hang with a colossal and monumental aspect.
There exists a strenuous physicality to my process of making — it’s rough on the body, it connects and commits me to making. As a craftsman, I embrace the process for that love of process. Weaving is a captivating combination of linear two-dimensionality and volumetric three-dimensionality. I construct linear threads and manipulate the plane of the textile into relief-like structures and spaces.
The use of pragmatic and intuitive considerations of individual allotment and commerce, creating an experience of movement for the viewer that is highly variable and diverse. Using a formalist approach I liken my daily travels in my environment to the mental travels of my mind. This visual exploration evolves through mapping and plotting these journeys. I’m continuously connecting points to points to establish grids and ordered chaos. With this it creates both chaos and order depending on the vantage point of the viewer. I feel the viewers can relate to the mapping and/or landscape of the work when being immersed within the space of them and becoming a part of the installation, confronted by the material’s qualities. There are planar compositions, painterly moments created in stasis, and space created in motion. This allows the viewer to enter a space of wonder and excitement being surrounded and/or con- fronted by an abundance of material with which the viewer already engages on a daily basis in new ways. These monstrous weavings possess aspects of utility and futility creating networks of connection, spaces, danger, and yet they are powerless