I have always been an explorer of the visual world, a collector of mental images, handmade objects perfect in form and function. Seeing a
landscape forming a unique tableau ever-changing in the light, a beautiful rock, an ancient tree, or a near-perfect work of art brings me joy in a visceral way.
Our fast-paced lives in cities disconnect us from harmonious natural surroundings. Our craving for efficiency and speed deprives us of appreciation for the simple joy of watching life unfold at its own rhythm. We see things but we don’t really look at them; we miss out on the joy in the simple beauty of looking at a star-studded sky or a blade of grass.
Since an early age I’ve assembled found objects and artifacts, whether a discarded rusty French tool with an old Tibetan wooden figure picked up during my travels and, or an Indonesian pebble with a medieval iron weight from Iran. My process is not a cerebral one; I observe and handle my collection until I instinctively feel some harmony or aesthetic connection between objects, and then find a way to join them.
The Japanese concept of Wabi Sabi centered on the acceptance of transience and imperfection has been a major influence on me—I was instinctively drawn to this sense of aesthetics even before I knew there was a word for it
For me language and visual imagery occupy almost separate universes, or certainly different neural pathways. My written words here don’t feel to me like they come close to touching the essence or emotions that are evoked in my visual and artistic world; I can only hope my work speaks for itself.