When I started messing around with sculpture about ten years ago (in the capacity that I could at the time), memory and sentimentality were core components of what I was interested in. Those remained central thoughts as I ramped up here in Columbia, and were the organizing theme of the "Afterburner" show I had at Tapp's in the spring of 2017. Over the last couple of years I have continued chasing those feelings while trying to lean forward, pushing my vision, improving my technical skills, and expanding the range of materials I work with.
The end of this semester was a busy one for our family, and I found myself working more in the evenings than on the weekends. After I finished "Passenger" in November I worked mostly on two pieces I had started earlier during the summer: "Painted Swan" and a dancing fox I'm calling "Kiss Goodbye." It was while working on the fox over the course of several rainy evenings listening to the radio that I realized that I'm at a pivot point in my art: the Afterburner series is over. Fifty is a nice round number.
I based the posture of the fox on a line drawing I found online. I wanted the animal to be light, dynamic, and playful. And I wanted the base to be the opposite. The fox is springing off a dead weight (an engine block), saying goodbye to a heavy, broken mass that won't ever move again.
Over the last few years I have developed my own style, created a cast of characters, and scratched out -- though both creation and discovery -- a vague grammar of symbols, shapes, and colors. I have a lot of ideas and a lot of energy, and I feel like I'll be able to both harness and unleash a lot more of both if I let myself out of the memory box. And so I'm out. The memories are there, but I'm going to attempt to defang them. Let's see what happens next.