My work is interdisciplinary in approach and concept. Just as words, sounds, and images rooted in memory may trigger composition of a poem, collage is a mode of perception that prompts me to integrate different sorts of accumulated language. My source materials include antique literature and music books and other ephemera. These chosen fragments of lived experience reference a personal lineage as well as my esteem for the analog culture that is rapidly dematerializing from all human life. They are the bricks and mortar I use to build, constructing new spaces informed by time’s passage.

 

Early life in the home of an architect and a violinist shaped my aesthetic. Exposure to the art of architecture encouraged attention to spatial relationships, taught me to read elevations and visualize their 3-D intentions, and, at construction sites, to appreciate the evolution of concept to form. Music played through and where words ended, roused layers of emotional response, and altered the sense of place and time. Together, these ingredients fostered an affinity for abstraction and design.

 

In one of my favorite books, The Poetics of Space, philosopher Gaston Bachelard explains that an inhabited space transcends its geometrical constraints, that it becomes a container in which past, present and future may collectively reside. This inclusive and emotional sense of space has long informed my practice.

At the end of the day – or night – my work relies on juxtaposition, metaphor, memory and matter to express some sense of underlying order, humanity, and emotional intent.