My studio practice is rooted in the visual expression of dynamic systems. The work is a
continuous investigation of the idea of that embodied information exists through an
interconnected universe. My large-scale paintings, drawings, sculpture, installations, and
performance works all explore ways to bring complex, overlapping ideas into a shared
environment through the convergence of resonance, pattern, time, and space.

I’m particularly interested in ways vibration, energy and matter connect. My research involves
experimentation with a range of physical mediums and acoustical approaches to investigate these
connections and conditions. These object and sound works interplay to create a space in which
the viewer can negotiate trajectories defined by physical and biological forces. Physical marks,
formations, geometries, and arrangements generated by these experiments allow for new patterns
to emerge.

I see the interplay of these patterns, forms and symbols within imagined reality and explore them
as both language and thought-forms from which to trace new, emerging narratives. By layering,
stacking, and assembling, it is within the merger of systems where workings of the universe can
be glimpsed. Processing these hybrid arrangements, speculative glyphs, ideas and their
subsequent interpretations, the work seeks to uncover a sense of human trace within and remove
boundaries between human culture, Earth, and Space.

Noēma

Noēma is the name I’ve given to the small, hand-formed pieces I create from either bronze or porcelain.
The term means “mental object; content of a thought”. These forms are not made from molds, rather each
unit is entirely formed by hand. Each one is completely unique as indicated by my fingerprint patterns
encrypted in their material formations. They are hand-formed with each piece concealing the concept of
infinity (the lemniscate) presented as two openings integral within every form.

These shaped forms infer various structures and fragments of possible worlds interpreted and synthesized
with encoded notions. They harbor biological, mathematical, and geometric conceptions. They offer
references to biological bones, flowers, shells and yet echo topological geometries of the torus, knots,
fractals, and other forms of theoretical quantum physics within dimensional space.

However, instead of attempting to portray any likeness, these forms pursue their own liveliness.
Possessing a noetic force, each one is a uniquely formed by hand as an intentional component – a
structural aspect of experience. Translated from my mind’s eye into the physical realm, their encoded
physicality becomes an experience for perception as the viewer explores their materiality, terrain, shifting
topologies, physical arrangements and, at times, their sonic properties. They serve as mediators for the act
of perception by indefinitely suspending the relationship between perception and the perceived.

I often assemble large numbers of the noēma into arrangements and large installations. Porcelain noēma
are simply stacked allowing their delicate edges catch, but it is their individual fragility and material thin
translucency that create a strong, stabilized structure of emergence and allow for infinite arrangements.
Bronze noēma are assembled into suspended installations where gravity and movement enable their
bronze edges to collide to create infinite arrangements of hypnotic motion and resonance. These noēma
are also uses to create paintings. Enlisted as a tool, they are dipped into paint and then vibrated across
surfaces. They become a moving medium for my paintings while offering new layers of materiality and a
enabling a patterned language of visible vibrations to emerge.

Regardless of arrangement or approach, their outcomes create dynamic structures containing imprints of
mental acts of the mental world emerging into physical being. They are a structural aspect of experience,
experience as object and agents that harbor conception of consciousness.