This is Daphnis, one of Saturn’s moons that orbits between its rings, creating a rippling effect as its gravity pulls on the ring particles. Simply stated, I could die fulfilled knowing the universe writes poetry of such subtlety and magnitude. I’m not so sure how or why we’re even here… as temporary witnesses perhaps? A consciousness that appears, learns to make and appreciate its projection of beauty and then destroys itself like a degenerative bacterium with a finite lifespan? You do not need to be an art expert to appreciate the beauty and complexity of Daphnis’ ballet with the ice and rock particles of Saturn’s rings, or even to appreciate a single leaf filtering sunlight through a window. It's about cultivating a sense of curiosity and wonder about the world. Don't feel like you need to understand it in a conventional sense, just let yourself experience it.

As an artist, I feel like whatever medium I’m using I might as well be sitting at a piano working out a melody from scratch. Well, not exactly from scratch, the piano is a carefully deliniated arrangement of vibrating tones- it provides the organizational structure for me to compose something that might resonate well with human sensibility. Shapes are my piano keys, derivations of form are my flats, sharps minor and majors. I don’t think of myself as merely working with shapes, I see them as something of a fundamental creative force. First off, I like to draw parallels between art forms instead of compartmentalizing, let’s say, music, visual art, mathematics or even language. I look for underlying commonality. I’m examining all types of expression as structures that build meaning. To me, spheres, cubes, cones and tetrahedrons are like the building blocks of an alphabet. Instead of letters making up words, these forms create a visual sentence in my sculptures. There is deliberate potential housed in these elemental forms. Just as a single musical note holds the potential for infinite melodies, so too does the sphere contain the potential to derive countless forms. Apart from speaking singularly about aesthetics, I think of it as a fundamental creative principle. Like a code, a hidden language within these shapes.

As a sculptor with a literature background, I don’t necessarily approach these seemingly academic disciplines as stand-alone subjects, but as different expressions of the same underlying principles. Breaking things down to their core elements, whether it's language, music or even these forms embedded in the sculpture itself that remind me how interconnected we all are to each other. I want us to reconsider what abstract art can be, it's not just about aesthetic appreciation, it's about deciphering, tapping into a deeper understanding of ourselves and the world around us. We speak at about 125 words per minute, and think cognitively at about 1200-1400 words per minute; so just imagine the heightened level of our subconscious function while we are looking at something our intellect cannot quite comprehend.

For me, form is not about literal translation into meaning, but rather about the emotions and ideas that these forms evoke when they're composed in intentional ways. My hope is to create a dialog, a tension that speaks to the duality of our own existence. Using elemental shapes to communicate something intriguing about our own human experience and our place in the universe. Form can create a visceral experience for the viewer, not to dictate meaning, but rather to create a space for contemplation, for personal interpretation, to engage with the work and feel those connections for oneself. Here is an interpretation of the universe in its raw form, now you make sense of it. It’s not about finding the right answer, it’s about the questions that rise to the surface and the emotions that stir within. Art is not just about what you see, it's what you feel in that space.

As to the use of negative space, the emptiness between forms, I think it is just as important as the shapes themselves. It's not only about the objects but the space that they create around them, like a dialog between presence and absence, negative space can represent infinite potential, the unknown that surrounds and changes how a viewer perceives the work based on its spatial context.

When an artist chooses to use a material like clay, it’s not just about playing with shape and form, but also about our perception of time and history. Drawing connections between these ancient materials and the timeless nature of the forms themselves: the sphere, the cone, the cube and pyramid. These elemental shapes create a dialog between primordial form and modern techniques.