My sculpture begins in wood, wood that has been discarded and reclaimed. There is a focus on death and rebirth that comes with this practice. Where the tree came from and how old it is, is the base to begin; it’s provenance of material. I’m interested in what the tree lived through, the territory, the people, the earth’s climate, this all matters to me. Like a historian, pieces come together, comparisons are made with what is happening now and what was happening then; politically, environmentally, socially.
The surface is important to me, whether it is charred to an alligator texture, bleached like bone, covered in graphite or beeswax. A beautiful surface is very important, be it rough or smooth.
Some sculptures are not finished until they are cast in a permanent material; such as glass, cement, bronze, aluminum and stainless steel. This process of vitrification petrifies the wood, it leaves the texture and feel of wood but transformed in an alchemical change. This is a need for me to hold on to wood, keep it from decay, keep it from changing. At this point in casting size can be increased to larger than the tree was, here monumental scale is at play in relationship to the viewer and the environment of the installation.
Though I use wood I am not a woodworker. I do not control wood from opening up, I like the decay and bug eaten surfaces, instead they are enhanced intentionally. I feel the life of the tree continues after it is cut, the living breath of the tree somehow continues, carrying all the life it lived with it. Casting is a continuation of this as well for me, for then it is impenetrable to decay.