1. When did it start to happen in
your life?
I grew up in an artistic family, so
very early I was introduced to many artists and books about art.
It just came naturally for me. I would sit for hours looking at
books on art and architecture. I so admired the art that I feel I
willed myself into being an artist. I would draw from books and
make architectural drawings of the most fantastic buildings (as far as
scale) that I could think up.
I started having very powerful dreams
when I was between eight and ten years old. They were very
luminous and had a strong audible quality to them. They kind of
freaked me out at the time, but now, I feel that they had something to
do with my becoming an artist. From those dreams I realized a
separation from the interests of my friends, you know, Davie Crockett,
Base Ball, and Guns, to a more general interest in how things are.
2. Is there a single artist
that influenced you?
I can’t say that there is
one. I have to say though that I have been supported all of
my life by wonderful women, I have had very few men interested in my
welfare, and that saddens me, but what should I expect? I
have had many artists that I have admired, both men and women. I
think all artists are connected in some way. We are part of the
same energy that continues to grow and morph. I am thankful for
all the great mystics and philosophers who communicated their visions
and insights. I feel that continuing to educate yourself will
always add to inspired work. Having said that, there is still no
substitute for just getting down to work; it is there that it all comes
together, again, if one remains open. I hope you get my drift;
it’s all a very subtle balance between wisdom and cleverness.
I look at a lot of art, and some art
has energy within it, something that seems to have a life of its
own. It grabs hold of you. And you become its agent.
I respond to other artists who seem
to have been caught by this very powerful energy.
After a while you can recognize its
hold on the artist, in their work.
This then gives you something to
strive for. Again, you have to figure out how to get out of the
way (wisdom), and not be too clever.
3. What would you like the
writers and critics to say about your work but never
do?
For the most part I feel that I have
faired pretty well so far.
I have found it very beneficial not
to have expectations about all of that.
I always find it amusing how others
see my work. It really says more about were their coming from
than where I’m at. If buy chance their on the same page then
that's great. My hope would be that someone would spend the
time to consider the work and attempt to communicate it to others in a
way that would be educational. Why waste everybody's time writing
about something you can’t get behind. Everyone knows how hard it
is just to keep on making art. We need more champions of art out
there. People like the late Kirk Varnedoe.
4. What do you want from
people as they look at you work?
Again, I have worked very hard at
trying to come to a place that I don’t have any preconceived
expectations. This kind of thinking falls into the worldly
attitudes realm. It sets you up for suffering, and I’m trying to
rid myself of that. Though that is a lot to ask, but we must always
try. When I look at my own work I see a great deal of complexity
even though it tends to be reductive and formal.
I would hope that the viewer would
take the time to look and feel back into their past, not only the
personal but also that of their ancestors and ask how did these objects
get here now, and why?
5. Somebody once said, “Great
art is about clear thinking and mixed feelings.” What do you think
about that?
I don’t know if its possible to think
clearly with mixed feelings. But I suppose its possible to have
worked on a piece and to have very clear intentions about it.
Then after the work is completed,
have mixed feelings about the outcome.
This often happens, and doesn’t
really have any bearing on the greatness of a work.
I tend to gravitate toward work that
has clarity of vision (weather it be chaotic or reductive). This
is achieved by clear conceptual and formal means. If we can read
the artists intentions then we think that's great. Truly
“Great” art sets up a system of seeing, then brings you to a point
where all logic becomes suspended and your faced with the “Magical”.
I suppose you could define this as
the mixed feeling part, but it is more profound than simply, mixed
feelings, which implies a negative connotation.
As you can see I don’t have a clear
answer to the question. Art is too simple and complex at the same
time, like a kiss.
6. How do you know when a work
is finished?
You would have to define what kind of
work and in what medium we are talking about. This question
usually is asked with regards to painting.
Because of the nature of painting
being such a plastic medium there is always this question of knowing
when to stop. In classical sculpture this is less so. But almost
every medium has a limit that can be defined as overworked (either
conceptually or in actual praxis).
This usually happens when there is
too much information presented without any room for that “Magic” to
take place.
7. What is your formal education in
art?
I have an M.A. in Sculpture.
8. Is art a full time
profession for you? 9. What other activities in your life have a
direct effect on your creative work?
Everything I do is art in some
fashion. I don’t make a distinction between art and life.
This tends to make me a happier person.
10. Is balance a matter
of concern in your work?
Yes.
This seems to be natural to me
though. It’s not something that I consciously work at.
I
suppose it’s a matter of belief, of whether you buy into the universe
as being ordered or chaotic. For architecture, at this time, he
has certainly brought in a breath of fresh air. I happen to feel
that both coexist in a way that is ultimately productive. Chaos and
grace can become very close. It goes back to your question about,
how do you know when to stop.
11. Is questioning a vital
source of discovery for you?
It is absolutely vital.
I come from the “Question Everything
Generation”.
We started out trying to categorize
our questions as a way of defining our core interests. We wanted
to find out which way these interests could lead you in your
work. The whole gamut was open. This was just as
post-modernism was taking hold.
I then started to question the nature
of post-modernism and began to ask how that would look.
When you go beyond post-modernism,
you can include a spiritual component into the equation. This was left
out of post-modernism because of its being basically a vernacular
practice. This interest in the appearance and appropriation of things
with the exclusion of the metaphysical aspect, produced work that was
not deeply rooted in the psyche of the public. The works became
decorative and not grounded in any true feelings about place.
Also, when you look deeply into these things, distinctions and
categories tend to fall apart. It’s all a big free for all out
there. Ultimately modernism tended to be about ego and
individuality and style. Post-modernism was an attempt to say there is
nothing new under the sun. And now every one is just scrambling
to get noticed. Which translates into, how clever can I be,
taking into consideration all that has gone down before me?
As you can see this can go round and
round.
But to reiterate, the question is the
answer!
12. What is your approach and
method of working?
This is where things start to get
really interesting.
Once you have some idea of what
category you are working in, you just start making work, anything will
begin to stimulate the outgrowth of new works because the mind then
gets engaged in the process of trying to come to terms with what you‘ve
just worked on. This idea of waiting around for inspiration is not
where it’s at. Letting go of ego and allowing the work to develop
on its own, is the way to ride the energy flow. It seems
inconceivable to burn out under these conditions, because you are not
dictating ideas but are allowing them to arise from constant inquiry.
In a Nut Shell.
Seek
wisdom
Don’t be too clever
Work, Work, Work
Question everything
Know that you are not alone
Know when to stop