Glenn Zweygardt

“Finding ones place in a relationship with nature is the theme of my sculpture. While working with materials such as metal and stone, a relationship between nature and myself is formed. Further, I want to tell stories and comment on my collective life experience and my perception of a collective consciousness? Hopefully, these ideas and expressions will enter into human consciousness and the fourth dimension.”

— Glenn Zweygardt

The works of Glenn Zweygardt are simultaneously ancient and contemporary. With his use of diverse materials - cast bronze, glass, iron, marble, stainless steel, stone and granite - he creates complex media sculptures that exemplify a master of the three dimensional form.

Zweygardt possesses an uncanny ability to fuse dissimilar elements and concepts, natural occurring and fabricated forms, into structures that command the attention if the observer. This interaction of artist, nature and technology has a unifying affect on the observer's imagery and psyche.

Duplication and relationship is a recurring theme found throughout Zweygardt's work. A carefully chosen stone, cast and duplicated in bronze, aluminum or steel becomes the basis of definite architectural themes that manifest in a range of sizes.

Zweygardt's mastery of the building process along with his ability to create enormous works of art from materials of tremendous mass has gained him international recognition and membership to the Berman Group, a cooperative of sculptors whose collective work spans virtually the entire spectrum of possibilities of "traditional" modernist sculpture.

Kansas born, Zweygardt earned the BFA degree from Wichita State in 1967. He received the MFA from the Maryland Institute of Art in 1969 and is an emeritus Professor of Sculpture at the New York State College of Ceramics at Alfred University. Zweygardt works independently in his immense workshop in Alfred Station, New York. Here his work continues to evolve-varied shapes and rich surfaces, transparent and dense forms, concept and technical relationships, personal and collective perceptions-into fine art of eminent legacy.

Hanna Jubran

Hanna Jubran received his M.F.A. in sculpture from the University of Wisconsin-Milwaukee and is currently a Sculpture Professor and
Sculpture Area Coordinator at East Carolina University in Greenville, North Carolina. 

Hanna’s work addresses the concepts of time, movement, balance and space. Each sculpture occupies and creates its own reality influenced by its immediate surroundings. The work does not rely on one media to evoke the intended response, but takes advantage of compatible materials such as, wood, granite, steel, iron and bronze.

International art shows, competitions and symposiums: 
The International Sculpture Symposium in Granby, Canada, The Ecatepec, Mexico International Monumental Sculpture Symposium, The Toyamura International Sculpture Biennial at Toyamura Village, Japan, The International Sculpture Symposium and Conference at Europos Parkas in Vilnius, Lithuania, The Second International Invitational Iron Sculpture Exhibition and Iron Pour at Tallinn University in Tallinn, Estonia and The International Woodcarving Symposium in Kemivarji, Finland. A recent commission Hanna just completed can be found on the grounds of Fayetteville University, Fayetteville, North Carolina. It is a nine-segmented concrete sculpture and reaches 11’ in height. Hanna is consistent, in his pursuit of creating enjoyable sculptures for private and corporate collections.

John Ellis

Over the course of the last ten years I have searched for what the making of my art means to me. To reach a conclusion seems to be just ahead of or slightly beyond my understanding. It is very much a journey unto itself, requiring one to evolve and question one's thinking on a regular basis. This is primarily due to the evolution and development of skills and of ideas. The following paragraphs consist of what I know about myself and my work at this point in my career.
 
My work is a blending of my interest coupled with my skill as a craftsman. My interest in art stems from a variety of different styles and periods. My work is influenced by an interest in four specific areas. I love the simplicity of Shaker furniture as well as the lines and grids found in their designs. I am also influenced by Japanese architecture and furniture design. These simple factors are coupled with a high degree of interest in abstract expressionism seasoned with a dash of minimalism. 
 
As a sculptor I can find no way to separate art from labor. Visions, concepts, and ideas are only realized through labor and the desire to complete them. It strikes me as odd that art is held in esteem and labor is given a separate weight, for without labor, art cannot exist.
 My objective in the making of my work is to create something which contains the things I seek in my own life:  
simplicity, balance, and beauty.

Biography

My life's journey began in a small town in southeast Missouri in 1956. I come from a long line of talented people who in one way or another were always making something. My great-grandfather was a successful businessman and one of the finest builders of practical things I have ever encountered. There are numerous ladders, tables, and various other items still in service in my father's machine shop today. I believe watching him as a youngster nourished my interest in making things.

 Education and learning can take place in any number of ways. The most effective way for me has been through self-study and by working with mentors. As I have grown older my interest and my curiosity have grown in many different directions.

 Throughout my life my family, close friends and my various mentors have all encouraged me to drink deeply from the stream of life. Friendships and personal connections on a deep level are the sustenance of life for me. I am extremely fortunate to be married to my best friend who has helped me find my way to this point in my life. Her love and friendship as well as her understanding of psychology have been the ground from which my work has sprung.

Nathan S. Pierce

My artistic vision is to create abstract forms that spark the imagination of the viewers and highlight the importance of communication. Whether we are engaging in dialogue with those around us, or finding new passions in life, it is fundamental that we continue seeking out and discovering new things. My work has always dealt with conflicts of confinement and freedom and exploring catalyst between the two: building or destroying communication systems. 
In the abstract form, these sculptures remind us of a fundamental idea, one that people of all ages can identify with. Their appendages likely reached out to send or receive signals from others.  It is difficult to discern whether they are from the future or the past, and regardless, one wonders how well they served their purpose, or if there was a purpose at all. These devices may be tangible evidence of how communication succeeds or fails in our own lives and in the lives of others.

The material I use and the process of my work is directly influenced by experience. I come from a mid-west, blue collar family that has been in the construction business for four generations. The idea to create sculpture from those same materials seemed natural and permanent. My decision to utilize the benefits of structural steel in my work also comes from being inspired by the fabrication process. I enjoy the dedication and commitment that is required with this material, it helps build character.

Wayne Vaughn

“I love bringing life and animation to cold, hard metal.”

— Wayne Vaughn

Builder. Musician. Sculptor.

As an apprentice to a master carpenter, Wayne Vaughn enjoyed a successful building career that spanned four decades.  Music plays an important part in his life as founding member of a 28 year old brass band. Rooted in this combination of physical skill and know-how, dedication, and creative pursuit,  in 2004 his career as sculptor was fostered.  Very quickly his bold, geometric, large-scale works began winning awards and the attention of regional and national shows.

Michael Stanley

I believe that art should be interactive.  Direct human contact between the participant and the artwork allows for a deeper connection to form, encouraging a feeling of community. I integrate playful incongruity in many of my pieces in order to promote humor, making it more accessible.  While my primary research is in Kinetic Sculpture, I use furniture design as a vehicle for human interaction.  This interface facilitates experimentation with structure, aesthetics, and the response to design in people’s daily lives.  

Much of my inspiration comes from the unfortunate events of Hurricane Katrina.  I use these personal memories to influence my artwork in a more idealistic and positive direction:  we can do more good working together than we can individually.  The aesthetics of my work come directly from industrial memories of my childhood and travels:  areas where the natural world and urban development meet, such as a bridge crossing the muddy waters of the Missouri River or the unseen beauty of overgrown abandoned brick warehouses.  The combination of human innovation with the unrelenting forces of nature has always captivated me, and I often incorporate that look of strength amidst decay in my artwork.  

Because I often incorporate found material in my work, there is usually some level of uncertainty about how the finished piece will look.  Although it can become frustrating, I find comfort in this lack of certainty because it allows me to become impulsive and make changes to the design as I see fit.  This artistic freedom, as well as the integration of ethical materials into my artwork, creates a deep sense of gratification and is what keeps me making art.

James Davis

Mark Dickson

ARTIST'S STATEMENT

I am consumed with the process of sculpting: the physical act of creating by the deconstruction and reconstruction of ideas. The struggle to reassign beauty, power and meaning to both found and raw materials. Allowing these forms to exist free of the constraints of the expected norm. 

The entanglement, the blood, sweat and smoke, the challenge of steel, fire and heat. I call this the romance of construction, and thru this action I seek to challenge the familiar. It is my hope that the viewer will join me on this journey.

ARTIST'S BIOGRAPHY

Mark Dickson starts with concepts like form, negative space, and abstract suggestion. Then guided by themes like; music, flight, wind, water, machinery, and even personal guardians, he shapes freestanding or pedestal-mounted sculptures. He combines shapes to form a single piece of singular emotional influence. The result is a realization of the beauty of the abstract form. 

Mark draws on knowledge acquired from independent studies in metal design, fabrication, casting, foundry methods, and blacksmithing. Three influences were; Professors Jim Devore of Sierra College in California, Charles Hook, the late Professor of Sculpture at Florida State University, and the late Master Craftsman Jerry Grice. Marks’ work is collected throughout the United States in public and private collections. His fluid large-scale pieces are appropriate for landscape architecture and opened interiors. His sense of tight design, light abstraction and use of negative space suit the modern style, for areas ranging from compact to expansive.

Dickson is a native of northern California and has been a resident of Tallahassee Florida for twelve years. He teaches sculpture part time as an adjunct instructor at North Florida Community College in Madison Florida, and is a full time sculptor with a working studio in Tallahassee.

Bryan Massey

Bryan Winfred Massey, Sr. is currently a Professor of Art/Sculptor at the University of Central Arkansas, Conway. He is primarily a stone carver working with a variation of stone from alabaster, soapstone, limestone, marble and granite. He also casts in iron, bronze, and aluminum as well as fabrication of steel sculptures. He was selected for the Governor’s Award for the Individual Artist of the Year, 2006.

Ben Pierce

Artist Statement

My work has been a reflection of an internal search to discover who I am and how I fit into the world. I attempt to create ideas and feelings utilizing geometric design and non-representational shapes. How do you communicate a feeling or a memory in a sculpture? This is a question I try to answer visually.

Specifically in this work, the idea of "the gap" is present. This idea represents a distance I felt after serving 4 years in the military and returning home to feel like I didn't belong.

Bio

Ben Pierce was born in Southeast Missouri and raised on traditional values, honesty and hard work.  After graduating high school Pierce served 4 years in the military before attending and graduating from Southeast Missouri State University with a Bachelors of Fine Arts.  Pierce builds work that represent experiences or feelings he’s had, but that are universally identifiable. Pierce constructs simple geometric forms to capture the viewers’ interest and stir their emotions.  Negative space is a large aspect of Pierce's work that helps to create tension to capture and focus on space.

Andrew Light

Mr. Light is an academically trained artist currently residing in Lexington, KY, where he maintains an active studio.  A Sculptor, Mr. Light prefers the use of fabricated metals for his work, as they afford a high degree of plasticity and durability for his expressions. 

Mr. Light has exhibited throughout the United States, and in the United Kingdom.  His work is held in private, museum, and municipal collections. 

Mr. Light performs frequent speaking engagements and conducts workshops in various settings to further the practice of Sculpture.

Matt Miller

Matt is a Missouri native that grew up along the Mississippi River in Cape Girardeau.  As a young child he was surrounded by his family and spent much time with his grandparents.  As time passed, Matt’s grandfathers began to strongly influence his creative play unintentionally.  Both grandfathers were craftsmen with one working in metal and the other in wood.  “I loved going to their workshops, they were filled with shapes and forms.”  Matt would spend hours stacking and connecting pieces into his own creations.  This is where he believes his love of building and creating began and says that these childhood memories surface constantly in his art.

Matt began his education with the intent to become an architect but soon realized he loved the building process even more than the design.  He said, “I had worked in construction for many years, you think I would have realized this a little sooner.”  He changed his major to art education with a minor in architectural design and found his direction in life.

Teaching now for several years, Matt enjoys the constant connection with art.  He can be found in his classroom teaching art as well as creating.  “I think for me to be a successful art teacher, I must first be an artist.”  He continues to educate beyond the walls of his room, in other classes and the community.   Matt has taken on a project with a local winery where he coordinates first Friday art openings and the first sculpture park in the Cape Girardeau area.  “The sculpture park is just in its beginning stages and we have had a lot of positive responses.  I can’t wait to complete what I envision on the property.”  There is no doubt that with Matt’s drive and commitment to art, he will continue to submerge himself into art and use it to sculpt his surroundings.

Jack Howard-Potter

Biography

Motivated by his study of human anatomy and movement, Jack Howard-Potter works with steel to create large-scale figurative sculptures. His work has been on display throughout the world in outdoor sculpture parks, galleries and public art exhibitions.

Howard-Potter grew up in New York City where he was inspired by the public sculpture of Alexander Calder, George Ricky and various performance, dance, and artistic exposure. He earned a BA in Art History and Sculpture from Union College and has been making and displaying his original sculpture since 1997.

After college, Howard-Potter moved to Colorado and worked with a blacksmith creating furniture and learning about the properties of steel, the medium that he would eventually use to create his art. Howard-Potter also gained the skills to convey a heightened sense of fluidity in solid steel while learning about the commercial practices of metalworking.

In 2001 Jack enrolled in anatomy and drawing classes at the Art Students League in New York City to further his skills as a figurative artist and understand how the human form works and moves. Famed artist and instructor at the League for 40 years, Anthony Palumbo, selected Howard-Potter to work as his assistant and eventually became his mentor. For two years Jack immersed himself in the human form, sketching five days each week and completing thousands of drawings. It was this practice that gave him the in-depth knowledge of human anatomy that can be seen in his work today.

In 2005 Howard-Potter made his largest and most daring sculpture to date, The Muse. Standing 27 feet tall the monumental figure of a female form taking to the sky, made out of almost two thousand pounds of steel covered in a galvanized and powder coated silver skin took 4 months to complete and representing a major success in Mr. Howard-Potter’s career.

Jack has permanent and long-term displays in sculpture parks, municipalities and galleries across the country including Marco Island and Coral Springs, Florida; San Antonio, Texas; Pemberton, New Jersey; Salem, New York; Jackson, Tennessee; Glenwood Springs, Colorado; Flossmoor, Illinois and Blaine, Washington.

Howard-Potter resides in New York City with his wife, Erica, daughter, Skylar and son, Lyndon.  He is a member of the Young Executive Board of the Elisa Monte Dance Company where he sketches rehearsals and draws inspiration from the dancers. He is an active athlete and cyclist competing in multiple races each year.

Artist’s Statement

I try to capture movement in a medium that does not move. Using steel which is an inherently rigid material I work to convey a sense of fluid action in space. My work explores the wide range of movement of the human figure informed through my study of drawing the human anatomy. My sculptures seek to convey the motion of the body in extremely stressful and beautiful positions; the moment that a dancer is at the peak of a jump, the weightless split second before a body succumbs to gravity. I am describing an ephemeral action in steel to convey this moment for eternity. I want the viewer to visualize the actions that led up to a given pose and the actions that will follow it. Using the brightly colored surfaces separates the figures from the landscape, making them stand out in much the same way people do when they wear clothes. The brilliant colors serve as protection for the steel from the corrosive outdoor environment as well as adding excitement to the steel to aid in the sense of movement. The work explores the range of possibilities and flexibility of the material as well as the subject matter. The display of my work in the outdoor public arena is the perfect place for the inherent academic roots to be brought to every person in an easily recognizable and accessible way, bridging the gap between the intimidating gallery or fine art institution and the general public.

Glenn Zweygardt

“Finding ones place in a relationship with nature is the theme of my sculpture. While working with materials such as metal and stone, a relationship between nature and myself is formed. Further, I want to tell stories and comment on my collective life experience and my perception of a collective consciousness? Hopefully, these ideas and expressions will enter into human consciousness and the fourth dimension.”

— Glenn Zweygardt

The works of Glenn Zweygardt are simultaneously ancient and contemporary. With his use of diverse materials - cast bronze, glass, iron, marble, stainless steel, stone and granite - he creates complex media sculptures that exemplify a master of the three dimensional form.

Zweygardt possesses an uncanny ability to fuse dissimilar elements and concepts, natural occurring and fabricated forms, into structures that command the attention if the observer. This interaction of artist, nature and technology has a unifying affect on the observer's imagery and psyche.

Duplication and relationship is a recurring theme found throughout Zweygardt's work. A carefully chosen stone, cast and duplicated in bronze, aluminum or steel becomes the basis of definite architectural themes that manifest in a range of sizes.

Zweygardt's mastery of the building process along with his ability to create enormous works of art from materials of tremendous mass has gained him international recognition and membership to the Berman Group, a cooperative of sculptors whose collective work spans virtually the entire spectrum of possibilities of "traditional" modernist sculpture.

Kansas born, Zweygardt earned the BFA degree from Wichita State in 1967. He received the MFA from the Maryland Institute of Art in 1969 and is an emeritus Professor of Sculpture at the New York State College of Ceramics at Alfred University. Zweygardt works independently in his immense workshop in Alfred Station, New York. Here his work continues to evolve-varied shapes and rich surfaces, transparent and dense forms, concept and technical relationships, personal and collective perceptions-into fine art of eminent legacy.

John Ellis

Over the course of the last ten years I have searched for what the making of my art means to me. To reach a conclusion seems to be just ahead of or slightly beyond my understanding. It is very much a journey unto itself, requiring one to evolve and question one's thinking on a regular basis. This is primarily due to the evolution and development of skills and of ideas. The following paragraphs consist of what I know about myself and my work at this point in my career.
 
My work is a blending of my interest coupled with my skill as a craftsman. My interest in art stems from a variety of different styles and periods. My work is influenced by an interest in four specific areas. I love the simplicity of Shaker furniture as well as the lines and grids found in their designs. I am also influenced by Japanese architecture and furniture design. These simple factors are coupled with a high degree of interest in abstract expressionism seasoned with a dash of minimalism. 
 
As a sculptor I can find no way to separate art from labor. Visions, concepts, and ideas are only realized through labor and the desire to complete them. It strikes me as odd that art is held in esteem and labor is given a separate weight, for without labor, art cannot exist.
 My objective in the making of my work is to create something which contains the things I seek in my own life:  
simplicity, balance, and beauty.

Biography

My life's journey began in a small town in southeast Missouri in 1956. I come from a long line of talented people who in one way or another were always making something. My great-grandfather was a successful businessman and one of the finest builders of practical things I have ever encountered. There are numerous ladders, tables, and various other items still in service in my father's machine shop today. I believe watching him as a youngster nourished my interest in making things.

 Education and learning can take place in any number of ways. The most effective way for me has been through self-study and by working with mentors. As I have grown older my interest and my curiosity have grown in many different directions.

 Throughout my life my family, close friends and my various mentors have all encouraged me to drink deeply from the stream of life. Friendships and personal connections on a deep level are the sustenance of life for me. I am extremely fortunate to be married to my best friend who has helped me find my way to this point in my life. Her love and friendship as well as her understanding of psychology have been the ground from which my work has sprung.

Hanna Jubran

Hanna Jubran received his M.F.A. in sculpture from the University of Wisconsin-Milwaukee and is currently a Sculpture Professor and 
Sculpture Area Coordinator at East Carolina University in Greenville, North Carolina. 

Hanna’s work addresses the concepts of time, movement, balance and space. Each sculpture occupies and creates its own reality influenced by its immediate surroundings. The work does not rely on one media to evoke the intended response, but takes advantage of compatible materials such as, wood, granite, steel, iron and bronze.

International art shows, competitions and symposiums: 
The International Sculpture Symposium in Granby, Canada, The Ecatepec, Mexico International Monumental Sculpture Symposium, The Toyamura International Sculpture Biennial at Toyamura Village, Japan, The International Sculpture Symposium and Conference at Europos Parkas in Vilnius, Lithuania, The Second International Invitational Iron Sculpture Exhibition and Iron Pour at Tallinn University in Tallinn, Estonia and The International Woodcarving Symposium in Kemivarji, Finland. A recent commission Hanna just completed can be found on the grounds of Fayetteville University, Fayetteville, North Carolina. It is a nine-segmented concrete sculpture and reaches 11’ in height. Hanna is consistent, in his pursuit of creating enjoyable sculptures for private and corporate collections.

Greely Myatt

Myatt, whose decade’s-long art-making career has often focused on communication, expands upon his comic-strip/thought-bubble motif with his use of familiar materials like steel, wax, electricity, found objects, linoleum and air. Under Myatt’s watch the form is turned as many ways as possible while still remaining immediately recognizable. Combined with references of his complex Southern background and interest in the suggestion of a narrative that is, once visually unraveled, both witty and provocative, the Artist ignites a storm of conversation for the viewer without actually spelling anything out.

A new central component in Myatt’s work is his use of light to implement the idea of 'closure'; a gestalt principle that takes advantage of the placement of seemingly absent forms within an artwork so that the viewer completes the work in the mind. Shafts or planes of light take on various forms such as color to complete what initially appears to be negative space. For him, the act of conversation is important – not just the words.

Aaron Hussey

Deedee Morrison

As a sculptor and installation artist, my work has been influenced by my interest in biological forms and light; coupled with the interest in the natural world is a fascination for technical and scientific advances. As a result, a unique style has evolved to reflect my understanding of the natural world by using heavy industrial metals, laser jet cutting methods and organically inspired designs to create solar powered sustainable sculptures. By combining green consciousness with forward thinking and sustainable designs, each piece of artwork fabricated is a functional solar powered sculpture that pays tribute to natureʼs beautiful efficiency.

I work in a very industrial setting that is an inspiring work environment for an artist. My studio is in the home of the Old Republic Steel Mill and what is now Wade Sand and Gravel Quarry. When I work with rocks out of the quarry, the limestone is harvested from an area with 600 million years of geological history. I think the process of harvesting the stone brings a certain awareness and perspective to my work.  The second element of influence is the backdrop of the old steel mill and buildings that brought in the industrial development of this whole region and has now been made obsolete – Republic Steel closed in the 70’s.  There is, of course, residue and environmental impact from this period in Birmingham’s history but at the time, the plant made the most of the known technology at the time by producing by-products from the coke ovens that included gas, tar, light oil, etc.  It’s intriguing to think about how technology can continue to answer many of the compelling energy challenges we face today – smarter, cleaner and more energy efficient as we evolve in our understanding of what serves our future and the future of our children best.

The current sculpture projects that I am involved with seek to encourage themes that I believe are critical to the longevity and health of our communities. Nature by necessity has solved many of the problems we are facing in our physical and built environments. I attempt to imitate the design principles that exist in the natural world and promote sustainable solutions.  Public Art has the wonderful opportunity of communicating the values and lead a city in understanding it’s cultural identity.  I have recently installed two solar sculpture projects in Clearwater, Florida and Chattanooga, Tennessee. I also have two upcoming solar light sculpture installations going in Colorado and California this summer, along with planning exhibitions for several Botanical Gardens.  These gardens are a natural fit for organically inspired sustainable art that works to promote renewable energy solutions.

I have been working as a professional studio and public artist for over 10 years and my experience includes a broad range of commissioned work and public art planning and development. I believe that sculpture site planning should incorporate the nuances of the land, the specific environment and/or any unique cultural features that will contextualize the onsite art. My past experiences have facilitated an integrated approach to sculpture planning which emphasizes active collaborations and partnerships with design teams, landscape architects, architects, engineers and the community as a whole. I have a proven track record of completing public art projects within budget and deadlines.Each sculptures seeks to educate, enlighten and distribute natureʼs solution for our communities.  Every sculpture is fabricated for strength as well as beauty. They are made from industrial grade metals and constructed to withstand real world conditions.

Cliff Tresner

Bio

Cliff Tresner comes from a farming background on the plains of Illinois and Indiana. He attended Indiana State University, Terre Haute, IN, and earned a BFA in Sculpture/Woodworking in 1990. From there he came to the south, attending The University of Mississippi, Oxford, MS, and receiving his MFA in sculpture in 1994.

Mr. Tresner has been teaching sculpture and drawing at the University of Louisiana at Monroe (ULM) since 1997. He has received many grants and awards including Best in Show at the Louisiana Contemporary 2014 exhibition at the Ogden Museum of Southern Art, New Orleans, LA; a Louisiana Division of Arts Fellowship; Northeast Louisiana Arts Council’s “Artist of the Year Award”; second place award in the National Outdoor Sculpture Competition, Lakeland, FL; and has received numerous Career Advancement Grants from the Louisiana Division of the Arts.

Mr. Tresner has an extensive exhibition record in drawing, painting, and sculpture. His recent focus has been on large-scale outdoor public sculpture with exhibitions in FL, NC, VA, LA, AL, NY, NC, and MS.

He serves the community as director of ULM's Sculpture Garden, an exhibition space devoted to bringing artists from around the nation to the University and local community; Director of ULM's Bry Hall Gallery, exhibiting artists of all disciplines; board member of the Northeast Louisiana Arts Council; and is currently historian of Kappa Pi International Art Fraternity.

Statement

I grew up the son of a farmhand on the plains of central Illinois. I was the first in my family to graduate high school and attend college. In many ways I was initially ill equipped to lead the life of a college art professor. Assuming the aura of sage refinement often associated with those in academia has always seemed elusive, and exploring my role as an educator and artist is still a work in progress. I often gauge others' reactions to a variety of situations and to the creative process. I do this primarily out of a sense of discovery; learning on the fly and questioning boundaries -seeing how things work, and often, fail to work.

In the simplest terms my work is about questioning. I tend to question everything and doubt the answer. In the studio I have freedom to question and doubt. While individual works may deal with specific subject matter, the underlying structure is questioning the nature of relationships. What happens if I do this or that to a material, or place one object adjacent another? I am constantly working out the elements of a composition, balancing what I know of furniture design and other so called functional crafts with fine art practices, questioning mine and others' relative worth in society and, frankly, anything that comes to mind. When I have provided enough answers via the "art object" I question if I was asking the right things in the first place.

I am not sure why I am this way. "I was born in Missouri, the Show Me State," is my general answer. I learned quickly in public education to temper my questions, and except answers for what they are. Through the artistic process I come to terms with my inquisitive nature. I revel in it, and during a cycle of creation and destruction, arrive at an answer I can live with. When making a successful piece, walking the line between its content and form, I realize how interconnected my practice is with all aspects of my life.

My influences are as varied as the way I piece my work together. I take great pleasure discovering other artists' work, analyzing how they are perceived, and taking what I need from them.  All things relative, I borrow my historical perspective, sense of craft, conceptual flexibility, playfulness, and connection to my materials from the likes of Marcel Duchamp, Anthony Gormley, David Nash, and Leonardo da Vinci.  This is by no means a definitive statement, but it is an effective introduction to my work and myself.