Elemental Iconography is an installation work in progress. My individual sculptures are intended as models and units for a large-scale, sculptural and experiential environment. An installation that would evoke feelings of a "return" to nature as well as awareness of our voluntary removal from it(and need to control). We return to the natural environment with the eyes of the alien architect. We feel pleasure as well as disgust; tranquility as well as fear; joy as well as sadness and sentimental loss. We are both guest and host. Our return to the natural environment is my representation of the distillation and confluence of self and other-- a physical manifestation of dialogue with the Divine, and the ensuing struggle and release.
My work with corrugated cardboard began as an exploration in design inspired by architect Frank O. Gehry's series of cardboard chairs (1972). I am driven by a fascination with modern design, texture and pattern. What began as pseudo- functional objects evolved into abstract forms evocative of ancient, rotting wood. I have labeled this body of work Elemental Iconography in recognition of the archetypal dualities present in these forms as well as the spiritual and elemental themes behind all my work.
My artwork is a physical representation of my worldview, which centers on my definition of creation: a personal and cultural dialogue with the ''Divine". My definition of the Divine--that which is larger than ourselves, and/or our environment-- is also infused throughout my work. The word dialogue stems from the Greek dialogos, "to draw meaning through". Exploring this definition, I also consider that a dialogue requires interaction with another, or, if you will, "an other". Thus, a dialogue requires each participant to clarify an awareness of the self, and of the other. Thus, to have a dialogue with the Divine, we must create a "God symbol" and give the formless, form.
This awareness of duality creates tension between the known and the unknown, the tame and the wild, the natural and the superficial/ synthetic ("man-made".) We have become the architects of our environment through our efforts to seek greater knowledge and control of the "other", as well as of our own destinies. We develop systems of control-- architecture, agriculture, mathematics, and humanistic ideologies-- to keep the "other" at bay. Yet while we revel in our ability to interact with and manipulate (systematically control) our environment, we also yearn to return to it, merge with it, see ourselves reflected in it. Despite our machinations and artifices, we are irrevocably intermingled. We are both self and other.
Elemental Iconography is my attempt to embrace the dualities within myself, as well as project an image of our essential nature. It is an exploration into what is self, what is human, what is divine, and what is universal, and the bindings and boundaries between them.
My artwork is a physical representation of my worldview, which centers on my definition of creation: a personal and cultural dialogue with the ''Divine". My definition of the Divine--that which is larger than ourselves, and/or our environment-- is also infused throughout my work. The word dialogue stems from the Greek dialogos, "to draw meaning through". Exploring this definition, I also consider that a dialogue requires interaction with another, or, if you will, "an other". Thus, a dialogue requires each participant to clarify an awareness of the self, and of the other. Thus, to have a dialogue with the Divine, we must create a "God symbol" and give the formless, form.
This awareness of duality creates tension between the known and the unknown, the tame and the wild, the natural and the superficial/ synthetic ("man-made".) We have become the architects of our environment through our efforts to seek greater knowledge and control of the "other", as well as of our own destinies. We develop systems of control-- architecture, agriculture, mathematics, and humanistic ideologies-- to keep the "other" at bay. Yet while we revel in our ability to interact with and manipulate (systematically control) our environment, we also yearn to return to it, merge with it, see ourselves reflected in it. Despite our machinations and artifices, we are irrevocably intermingled. We are both self and other.
Elemental Iconography is my attempt to embrace the dualities within myself, as well as project an image of our essential nature. It is an exploration into what is self, what is human, what is divine, and what is universal, and the bindings and boundaries between them.
