There are three major elements that make my art unique: the material, the subject, and the execution.
My pieces have a structural wooden frame that is covered with rusted tin roofing. Each piece of roofing has a strength, a story weathered over time. Some of the frames are quite complicated and time consuming to construct, but without a strong foundation the rest is less than it could be.
When I find a subject that attracts me, I start researching the history and meaning attached to the work. I ask myself “Do you really love the concept it inspires?”. “Can you even make that”, and finally “Can you make it true to the inspiration, but your own piece not just a reproduction”.
If it is a simple piece, I work from a sketch. If it is complicated I layout a full- scale detail on plywood. I use this as my blueprint and take all my measurements, compass point reading and templates from it.
I love to discover the original formulas for old architectural details. The more you understand the parameters to work towards the better the outcome. I do not see this knowledge as a limit- I see it as a release.
From all the joints in a gothic rose window one can see it was constructed from many sections crafted individually then assembled. I use this same approach. Each piece of metal is made entirely by hand using repoussé and chasing techniques, a simple hand brake and thousands of hammer strokes. The fitting and trimming of the final assembly of all the parts is the most intense portion of my work. All the pieces need to flow together into one.
I feel that a piece of art does not have to be shocking to have worth. Instead a work can mesmerize a person, moving one to a place of safety or sanctuary and instilling a sense of peace. In these unfathomably violent times, there is a special need for healing art.