statements.

Presently my research/projects are primarily in the area of sculpture and drawing with acute interest in interventions, actions, performance, video, collaboration and sites of art production.

My projects are directed by a process based practice that is used to investigate the historical lineage of sculpture, specifically post-World War Two European sculpture, post-minimalism and conceptual art. I am interested in sculpture becoming decentralized, not limited to a static form but the transformation of form (sculpture-body). In my projects the processes/lineage are exposed, what I am interested in is the embodiment of several interrelated elements that are combined to create a time-based/multi facetted action that is not limited to a particular material or method of production. It is the in between of events that creates interest for me, not the spectacle.

In my projects the body is a beginning, used as a point of departure: my height, weight, strength, mental capacity, sexuality, gender, biography and endurance are utilized as material to establish the initial context in which I work. I am interested in juxtaposing my academic investigations against my biographical involvement with physical labour, class systems and North American culture. Philosophically I align my thinking with phenomenology and consider the projects I undertake to be spiritually and socially motivated.

In this context, I am interested in researching and developing the concept of ‘Sculpture-body’ as a distinct phenomenon in contemporary art practice. I defined ‘Sculpture-body’ as an accumulation of materials, movements and the transformation of instances and conditions in congruence with primary, post-primary and reflective perception. My exploration of this proposition has continued in my subsequent work.

Closely following strategies outlined by the historical lineage of sculpture, I posit my theory of a ‘Sculpture-body’ as being a distinct practice that builds upon the traditional knowledge of sculpture. This work, which includes the integration of art history with the philosophical platform of phenomenology (e.g. that of Merleau-Ponty) and my involvement with physical labour, class systems and gender rituals in North American sub-cultures.

The context for my investigations is based on strategies developed by artists such as Alberto Giacometti, Joseph Beuys, and Janine Antoni. From this lineage I consider Giacometti’s work in the 1950’s a focal point that has created questions concerning the perception of the object in space, the compression of space and most importantly the obsessive focus on process.

A key component of my research/practice is to understand that product of sculpture cannot be separated from its condition. If the product of sculpture is the residue of complex exploration, is the totality of this experience a beginning for an expanded concept of sculpture?

The use of the aforementioned strategies is vital in order to further understand and expand this historical lineage into contemporary practice. Some elements of these strategies would include thought form, plastik, energy exchange, mass, and ritual. Applying these strategies to traditional material and other sources of materials is crucial to my investigations regarding a ‘Sculpture-body’. In this vein, I have employed process-based art practices that use strategies of sculpture within the context of contemporary informed materials – materials being an open-ended opportunity in that “material” should be defined not just as what is treated as traditional materials (e.g. stone, wood, etc.), rather “material” is also, by way of example, time, body, gender, performance etc.

One of my recent projects, “Bite and Burn (pacific, central, atlantic)”, is an example of such a work that utilizes time, geographical location, various disciplines and specific cultural practices in order to shape the work. As an example, I also used my body in this work as a material, as a point of departure: my height, gender and endurance, etc.. It is also suggested by this project that it may be possible to include other disciplines as raw material.

 

2010