Heat is energy transferred from one material to the next; this transfer takes on many possible forms such as eating food, manipulation of material and physical stimuli influencing intellectual contemplation. The creative processes involved in my works are primarily a series of transformational activities. The conversion of material from one state to another is of particular interest in harnessing the possibilities of producing sculpture that is comprised of interrelated elements.
One such example is the transition from solid to liquid to solid again (plastik). Heat is the transformational element and dictates the inner structure of material that undergoes a plastik process of formation. In turn, the material has a homogeneous interior that determines the surface quality of the final form.
An example in my work is the use of wax. The reaction wax has to heat is connected with the plastik and homogeneous formation of materials that is equated with the human metabolic processes. Making such a connection between the process in my work and the processes of the human body is a means of realizing the symbiotic relationship of material and body. The manner in which materials are formed determines their organization in such a way that the process of formation is revealed and thus points to the sculpture as an activity of warmth. The warmth found in the activities I undertake begins with the transformative ability of the imagination to motivate mental and spiritual means of creative energy into physical movement. Food is one source of energy in converting ideas into physical form. The symbiotic relationship of body and food produces thought that in turn transforms our physical spaces. This connection, of course, equates the quality of consumption with the quality of the force that is exerted from the energies (food) that are transferred from one form to the other. As my body transfers fuel into either a physical, spiritual or mental resistance, the resulting actions place demands on the body thus shaping the body and the mind according to the activity.
In most cases, the production of objects abandons the warmth generated by fabrication and the corpse of the object remains to be framed, for example, by the gallery. There is a disconnect between the episode of making and that which is displayed in a space. What I propose with my work is an activity that is moving and alive through warmth. My activities are brought into the space. The space becomes an aid in harnessing the energies produced by my behaviour; the energies become housed and contained. The essence of sculptural warmth is the conversion of energy resulting from activity. The remainders (objects) are traces of the warmth created by the results of friction from the components of a series of actions. The process of my work does not exist within a static form but in the transformation of form (sculpture-body).