Joining flat pieces of wood into three-dimensional forms is a process that evolved by chance. I was transitioning from sculpting with clay, a material that was no longer suited to my new sculptural vocabulary, to experimenting with pieces of scrap wood and cardboard, which proved to be a better way for me to build my new work.
I begin my work with three elements: my hands, flat geometric shapes, and space. There is no sketching or pre-planning. I need to experience my ideas in actual space, to have tangible objects to respond to. My sculptures begin by connecting two pieces of wood, then seeing where the additional pieces lead me. The uncertainty of where this is going is a stimulating part of the creative journey. The evolving construction creates a sense of excitement and anticipation. My hands lead the way; my eyes and mind follow.
I continue building until I feel that the early stage of the form has achieved a pleasing composition. It is at this point when I start applying color to the wood. This is a very challenging part of the process because color adds weight, energy and movement; consequently, it frequently becomes necessary to reconfigure the basic structure to accommodate a new sense of harmony, movement, and balance. I add and remove sections of wood, adjust the angles, and apply more color. This process is repeated many times until it clicks, until the form feels right.
In almost every instance, the final form is a totally different sculpture than where I started.