“What the camera frames, the eye reads for sense.1”

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This statement economically and with startling accuracy describes the most fundamental part of the process in which I have been engaged for the past two years.

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In this work, structure is born from the process of identifying and abstracting data found in the natural and manmade worlds, often transferring and transforming this data as it passes from photo to drawing to sculpture.  Rules, sets, patterns, constellations, emerge and recede. Structure suggests itself. 

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Process rules yet I have not employed a “pure” process; I intercede. I make choices. I “read for sense.” Yes, structure suggests itself, but I react to these suggestions and make conscious choices - or nearly conscious choices - related to abstraction and definition.  It is not unlike a dialogue with each piece as we move toward and eventually arrive at completion.

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Surface is seductive yet illusive. Marks are layered - in, on, and above the primary surface - creating questions which take place at the edge of sensory perception. Data moves in and out of what Edward Tufte refers to as “flatland,” the two-dimensional surface, and settles somewhere between a two-dimensional and three-dimensional experience.

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1. This statement appears as the first sentence in wall text for the show Among Others: Photography and the Group, on view at the Morgan Library, NYC, May 31 through August 18, 2019.