“I have often found the center of much of my creative practice to be in creating and developing autobiographically transparent, emotional, and honest artwork that often deals with some level of suffering, emptiness, and humor. In addition, I have found a personal, spiritual, as well as creative practice involving the aesthetics of wabi-sabi – a comprehensive Japanese aesthetic centered on the acceptance of transience and imperfection while finding the importance, value, and beauty in all that is imperfect, impermanent, and incomplete. Characteristics of much of my work include: asymmetry, asperity (roughness or irregularity), simplicity, economy, modesty, intimacy and appreciation of the limitless integrity of natural objects, emotions, and processes. While historically I have attempted to keep these practices separate – over time it has become apparent to me that there is no separation. In my more recent work I have been attempting to unite these practices, as well as these parts of myself. Nurturing all that I believe to be authentic by acknowledging three simple realities: nothing lasts, nothing is finished, and nothing is perfect – while realizing at the very same time – that everything lasts, everything is finished, and everything is perfect. For many years I have compulsively gathered evidence from daily walks and adventures – while baring witness to this extensive collection of found objects that had been previously lost, damaged, and discarded. The processes in this series happen in 3 stages. The 1st stage being the finding, selecting, and collecting of objects. Then in the 2nd stage I take portraits of the objects and meditatively remove all the distraction and visual noise that is around them to honor them as beautiful, simple, alone, complex, and quiet. Finally in the 3rd stage I prepare a surface to be printed to while covering an additional sheet of paper with charcoal. I put these surfaces together and mask the whole piece off to a firm table. I then draw the image by scratching and allowing that to draw/print through the charcoal coated page to the prepared surface. Throughout this process I cannot actually see what is transferring – and am forced to trust that the hours put into this process is transferring to the surface. It is in this stage and process that the documentation of the object is complete.
Each shareholder will receive an original mixed media drawing/print image from this series. I plan to make each drawing/print the size of a record album and will design a album-type cover and sleeve for the piece to be presented in. I would also like to include a small limited edition sculpture created from a mold of one of one of the inside out foam cups that I created as part of my 72 HOUR HOLD installation/performance. This part of the share would be delivered in boxes for each shareholder.”