The how and the why of stonecarving are symbiotically related. I enjoy the slow process of chiselling traces across the surface of the stone, the chisel following certain routes repeatedly until valleys deepen and curves emerge, creating a topographical map of an idea. The hands' work informs the brain of its own subconscious, which then allows me to consciously define my concept and clarify the form.
Each stone I work with imparts different insights because of its unique mineral structure, hardness, color, relative translucence and fracturing tendencies. I approach the stone with a general direction in mind rather than a specific outcome. A collaboration ensues and the result is an agreement between my vision and the stone's realities.
That everything is in motion all the time is a compelling concept to me. Sculpting allows me to intuitively explore notions of forms moving in space, mass,velocity and gravity. I draw on muscle memory and physical experience to find the feel of a "relatively" fleeting moment in a "relatively" permanent medium. Finding patterns, rhythmns and balance in my thoughts and in the stone is an enlightening journey.
The how and the why of stonecarving are symbiotically related. I enjoy the slow process of chiselling traces across the surface of the stone, the chisel following certain routes repeatedly until valleys deepen and curves emerge, creating a topographical map of an idea. The hands' work informs the brain of its own subconscious, which then allows me to consciously define my concept and clarify the form.
