My artistic focus is to find and collect (glean) aesthetically interesting functional or industrial objects from the past, to reimagine them in new contexts, and to combine, repurpose, and transform them into assemblage light sculptures that are compelling in the present. Within this framework, my art differs from most contemporary light art in two important ways:
1) It is focused on the interaction between light and assemblage form. It does not embody large spaces. They are not installations.
2) The forms that I use, which serve as a kind of “canvas” or target of my light expressions, originated within a functional or industrial context, and any aesthetic value they possess was secondary in their original design.
This notion of a “light canvas” is a helpful metaphor. Indeed, I see myself as a “painter of light”, with light and form as two mediums that I combine and harmonize. I am continuously looking for ways to filter, mirror, shadow, color, distort, reflect, direct, and focus light, all within context of the assemblage forms that I create. As a medium, light can be “shaped” and adapted, just as form can, as part of the overall artistic expression.
Within my art practice, I am constantly confronted with the "contradictory play" between form and light... With form being heavy, slow, permanent, and solid, as compared to light which is non- permanent, malleable, light (not heavy), transitory. The relation and exchange between these elements is essential to the visual experience.
Additionally, light, as an essential element of my sculptures, has a primary and non-typical role; For within the visual arts (exception: light art), light, as an external source of illumination, is most often secondary to the artwork itself. But here, as part of the artwork, light's function has evolved. The object illuminated and the source that illuminates are integrated as one.