I am an artist working with paint and ceramics. Though seemingly distinct, my process and aimin both media are intrinsically connected by the way that I relate to thematerial and the process. I engage with the work in a number of ways throughoutthe act of making. In the physical making, my goal is to step into a placewhere verbal thinking is forgone in favor of an intuition that comes from anintimate knowledge of material. I experience a piece again in returningto it after its genesis to look and to sit - to engage the work as a viewer. Ifind great joy in combining base materials in hopes that something out of mycontrol may materialize; this occurs in glaze chemistry and kiln atmospheres aswell as on the surface of a painting and its physical presentation. My processis both physically active and meditative.
Throughoutrecent art history, artists can be found who have attempted, in their work, tograsp the sublime. Turner’s poor ships became mere flotsam in the great ocean,Friedrich’s monk stood contemplating the expanse, and Rothko put his viewers infront of the void itself. Many othershave joined their ranks, yet none has been able to fully capture the sublime;for it is multifaceted, being present in the polarities from the grand to theminute, the frenetic to the serene, and from the dark to the light. My aim isnot to succeed these forefathers in hopes of portraying a more complete versionof the sublime, but rather to enter the discourse of, and meditation on thesublime through process and material, form and surface, and control and chance.To that discourse I hope also to bring an understanding of the sublime asevidence for a divine creator.