The forms I create are a result of the deformation and compression of a membrane (sheet metal) into volumetric form. The topological transformation of the membrane is created through the direct process of hammering. Pattern development is the foundation for the generation of form. These patterns evolve from a flat plane into configurations that visually correspond and resonate with organic structures. The ordering of parts give form to the whole. Not fully abstract these forms evoke plant, animal, insect and anthropomorphic references. The work is permeated by a sensibility and an aesthetic that emphasizes the variety and diversity of nature.
The direct metal techniques used to create these objects are traditional methods of hammer forming such as sinking, raising and chasing. The sheet copper is formed over stakes, anvils and sand filled leather bags. My hands and even feet are also used to manipulate the metal into form. The hollow-forms are joined through welding. A major aspect of the transformation of material is the technique of fold-forming. Fold-forming process exploits the plasticity, ductility, and elasticity of sheet metal. The characteristic bisection created during the process contributes to the ability of the material to move into form as well as an aesthetic element of the work. The marks of process are the direct results of the relationship between technique and material. A quote from the sculptor Richard Hunt exemplifies my notion of sculpture and making, “I don’t think of sculpture as divorced from how it is made. Sculpture is an idea and a process.”