(2004 - 2008)
I classify these artworks as “Projects” to indicate how an artwork represents the completion of a well researched, heavily edited and honest exploration of a concept. From the beginning I stressed craftsmanship and proficiency by mapping out every aspect and detail of each Project. Then once I determined which approach best represented the concept, I drew a final blueprint from which I created the physical artwork. I wanted the viewer to see this conceptual process and working method in the final artwork; the viewer shouldn’t just share in the resulting artwork but should share in the process of the artwork as a means of personally participating in the Project.
My intention with each Project was to have the individual artwork stand alone, even within the body of my work. To achieve this, I went through an extensive and discerning investigative process. I prided myself in seeing each Project through its entirety, often to ends that I could have easily taken a shortcut through other means but chose not to. This was important to me because I did not want the work to look or feel manufactured. Instead, I wanted to be truthful to my working process: I took the concept in all directions, willing to work out every detail physically and conceptually. With this idea of singularity came the significance of material and content. The content in each Project, I feel, along with the material used to create it, embodied various emotions that remained consistent throughout the entirety of the work. Where my focus for each Project was on the marriage of process and content in service to one distinct idea, there were inevitable unconscious overlaps that occurred among all the Projects. These overlaps are a complexity that is relative to whom I am and something subtle that I saw grounding the work in a consistent, emotional way.
In the end, this body of work is about my own abilities and inabilities as an artist and craftsman. Though I strived for perfection with each Project, as set fourth by my process, flaws essentially occurred. It is these flaws, I believe, that allowed me to speak honestly about the ideas and concepts that I thoroughly worked out. With this comes an opportunity for the viewer to interact with the artworks in the most basic, intimate level – the human level. To further emphasize this, I employed variations of my personality traits within each Project. By doing this, I intended this work to have an appeal that is unique to the viewer who shares that trait. I see this as a subtle way to communicate to all viewers, yet provide a particular path into the work that reveals something specific to those viewers who find a personal relationship with the Project.