I find the imagery available in non-objective art limitless and sometimes overwhelming so early on I made the decision to set parameters within which to work. I decided to look for sophisticated aesthetics in simple forms and concepts. The early sculptures were all made using the same basic shape, the first shape my hands made patting around a wad of clay. It was roughly a pear shape and I made a number of pieces with it: bubblegum machines, refrigerators, bible scenes and ecological statements. There was non-objective work as well but most of the pieces had some frame of reference to real objects. Nevertheless I decided to call it non-objective folk art, because of the simple, naïve imagery, and sought to further define it and operate within its parameters.
Eventually the forms evolved to a simple geometry. I also broadened the scope of materials used from ceramic to cast resin, carved wood, forged and fabricated metals, and cast metals. However forged and fabricated bronze captured my attention most. Working directly with sheet metal to create three-dimensional forms brings a raw honesty to the sculpture, and bronze that is well worked adds a rich unique quality.
The work has also evolved conceptually. I still explore non-objective folk art but use it as direction rather than definition. And instead of relying on a frame of reference I now rely on depth of character in a piece to provide conceptual value.
I look to communicate sophisticated aesthetics with a simple visual language that is honest and well worked.