The primary material used in my sculptures is metal, mainly steel, aluminum, bronze, iron, britannia, and whatever metals may be present in the found objects that I salvage to use in my work. My aesthetic language incorporates natural systems, similarly to other mediums I work in, as well as sedimentary rock formation, fossilization, evolutionary genetics and morphology, and the occurrence of noise and mutation in organic systems.
My metal sculpture is also informed by industrial metalworking practices and manufacturing processes. Having studied metal sculpture on a university level as well as having experience in the field of art and architecture fabrication, I have developed a high level of proficiency in several welding, brazing and cutting processes, as well as other forming, fabrication, and finishing techniques, including forging, casting, machining, and other metalworking processes. I always strive to find the best methods of producing my work based on the aesthetic of the work, as well as the functional and metallurgical qualities of my materials, taking into consideration the origins of my materials and the way in which the materials were manufactured.
I have drawn inspiration from Alexander Calder and Mark Di Suvero’s use of industrial processes and structural materials and the use of found objects in the work of Jean Tinguely and Richard Stankiewicz. I often combine the creative practice of metal sculpture with other mediums I work in as well, such as with installation, electronic art, and sound sculpture. Sculptors incorporating sound such as the Baschet Brothers, Trimpin, and especially Harry Bertoia have guided the direction of much of my sound sculpture. Recently, I have also had a great fascination in the formal aspects of Richard Serra’s large scale works, and especially Arman’s accumulation and recomposition sculptures which has also influenced my use of found objects.