When a painter approaches his canvas, he thinks of how his brush can be used to express his intention. The paint is his medium. With my assemblage sculptures, I’m thinking about their composition, but I’m also thinking of things like wattage and lumens. The oddities with which I build my sculptures provide the foundation. The light is my paint. It expresses the fullness of my intention. Unlike many other artists that “happen” to incorporate light as an afterthought, or conversely as the only thought, every decision I make as an artist is dictated by how I can best showcase light, and use it as a means of expression. I think in terms of how light can transform the piece, of how I can best manipulate the medium to add layers of context to my sculpture. Many times, I abandon a sculpture solely because it is not amenable to light. Without light, I am unable to “paint.” Light is also transformative in that it allows my pieces to be highly adaptable, and open to many interpretations. During the day, light plays a support role to the sculptural elements of the piece. People admire its composition, but often fail to notice where the colors of the piece are derived. However, when other works of art go to sleep, my pieces comes to life. Entirely new ideas are presented; entirely new emotions are drawn out. Although my pieces may find themselves housed in a collection and humbly accept their place among other distinguished pieces of art, they have the whole place to themselves once the lights go out. My pieces rarely provide adequate light to read by. Instead, they provide light by which to imagine...allowing the viewer to read into them what she wishes.
