Working primarily with metal, wood and paper, I create both functional and non-functional art and craft objects which display a decidedly contemporary sense of design.

Stylistically, the work reflects what I term a primitive industrial aesthetic. Whether it be masks, mirrors, folding screens or sculpture, the materials and design tend toward the urban, the contemporary, and the industrial, while the technique of execution clearly reveals the hand-crafted nature of the work. This is perhaps most evident in my mirrors and screens, where I will often consciously interrupt the clean, sharp lines with exposed seams and tacking, thereby calling attention to the craft.

	Stylistically, the work reflects what I term a primitive industrial aesthetic.

While there are many contemporary artists currently exhibiting an industrial style, most seem fixated on that absolutely clean, seamless, machine-like aesthetic. I find that sensibility a bit impersonal, and like to challenge it by bringing the artist back into the industrial work. I want that contemporary quality in composition, but then I want my viewer to know that the hands of a human being not only designed, but also created that mirror or that screen.

The primitive industrial aesthetic also extends to my sculptural work with found metal. With the arc-cut masks, I recycle various traditional forms and conventions and execute them in a raw style using salvaged modern-age materials. The intent is to affirm and to validate the constant dialectical process of absorbing/appropriating the historically sacred into the contemporary aesthetic vocabulary. While this process is often cited as a hallmark of the postmodern sensibility, it strikes me that it is rather a staple of much historical artistic practice. Of course, some of the masks are entirely playful explorations of human personality and expression.

	I recycle various traditional forms and conventions and execute them in a raw style using salvaged modern-age materials.

With the found metal statuary, again I am seeking to create a link between traditional forms and contemporary materials and techniques of execution. Indeed, most of the human figures are classically inspired, paying homage to the almost iconic ancient Greek style, and are constructed largely from what I consider iconic machine-age objects: gears, blades, tool parts, and fasteners.

My primary aim with these pieces is to challenge myself to communicate the warm sensuousness of the human form in clean style via the use of cold, hard, and “dirty” industrial materials.

The salvaged materials - wood, metal, and glass - that I use in all of my work are integral to the primitive industrial vision. Their characteristics dictate the very nature of my design, and their variations and imperfections again call attention to the “natural” or handmade aspect of these industrial works. They become part of the art, not unlike the grain in a carved wooden form. Art essentially has always been constructed from found objects, and so to fashion these masks, mirrors or sculptures from culled scrap material serves not only to express my message, but also to continue a basic and traditional artistic practice, one which is of ever-increasing value to our world.

In some way or other, all of the work reflects my own personal fascination with history and historical processes, as expressed, naturally, through the aesthetic framework of my own age. I hope you enjoy exploring the site, and I thank you for supporting the Arts.