Untitled

My objects are to be seen as stimulants for the transformation of the idea of sculpture.. ..or of art in general. They should provoke thoughts about what sculpture can be and how the concept of sculpting can be extended to the invisible materials used by everyone. THINKING FORMS – how we mold our thoughts or SPOKEN FORMS – how we shape our thoughts into words or SOCIAL SCULPTURE – how we mold and shape the world in which we live: Sculpture as an evolutionary process; everyone an artist. That is why nature of my sculpture is not fixes and finished. Processes continue in most of them: chemical reactions, fermentations, color changes, delays, drying up. Everything is in a STATE of CHANGE.

BODIES AS

Living in cities is an art, and we need the vocabulary of art, of style, to describe the peculiar relationship between man and material that exists in the continual creative play of urban living. The city as we imagine it, then, soft city of illusion, myth, aspiration, and nightmare, is as real, maybe more real, than the hard city one can locate on maps in statistics, in monographs on urban sociology and demography and architecture.

If I close my eyes, I see you again in front of me, like light attracting light to itself. I’m standing in the lake, forming a whirlpool with my arms, letting the force of atonement pull me into its center until I cannot any longer hang onto my observations or any sense of myself, like dust and hydrogen clouds getting all excited while creating new stars to light the backyard. How poignantly emptiness cries out to be filled.                      But writing this now, my hand is warm. The character I call Myself isn’t lustful, heavy, melancholic. It’s as if emotions are no longer bodied. Eros isn’t ripping through darkness. It’s as if I’m a boy again, observing the births of two baby lambs. The world has just come into existence.