I am inspired by how, in nature, simple, repetitive units form complex, often networked, and even biomorphic structures. I utilize geometric forms and patterns as starting points in retracing this process. I like to work in two distinct media at alternating times. Although these at first glance contrast, they both arise from the same kind of natural imagery and understanding.
These drawings start as grids made of string. I currently color these strings with acrylic paint. Once the grid is established I work against the grid by cutting at spots, adding additional string, extension, etc. As I do these I am interested in creating an organic flow that takes over the simple starting pattern, inspired by natural forms.
This work confounds perception by conflicting visual cues. Our brains build our reality from raw sensory input. Most of the time, this processing is reliable, but not always. My objects bring this constructed nature of perception to awareness. Engaging with these objects can be uncanny but also sublime experiences. I refer to this body of work as "Reflect/Spirit/Light" (or R/S/L).
I create these objects through a multistep process, starting with photographic prints of patterns and colors. I re-photograph these through small cast acrylic models of one of the five Platonic solids, which subjects the original photos to distortion by reflection, refraction, and transmission. I print the selected final images by archival means on pieces of laser-cut acrylic sheets. The acrylic material I use is mirrored, transparent or opaque, or a combination of the three. I mount these on backings that enable attachment to the wall. Each piece is a unique object.
When I started R/S/L, it was oriented towards physically flat but visually volumetric objects that also veer into abstraction. Recently, inspired by their 2D/3D duality, I have pulled these more explicitly into sculpture: I assemble these from two or more shaped and printed pieces of sheet acrylic. The original subjects can be appreciated from the front, while, from oblique views, they "dissolve" into pure abstraction. The visual cues of solidness are multiplied: There are both actual spatial volume and signals that arise from each component's corners and edges. The many indications of solidity are mutually inconsistent, fostering rich and varied exploration of our perceived reality's complexity.