There’s a certain amount of what we want to say with our work, but then there is what comes out of us naturally, and then we deal with how the two combine
I start with drawings that are spatial, conceptual sketches. I refer to the drawings as I cut the steel, allow for imperfections, and then I don’t worry too much about refining the drawing. I am into high output and maintaining a creative flow. I don’t linger on them too long, so I’m not very careful. It really is an exploration, a constant push, no one thing considered too precious.
They are one series together, complementing each other. The linear pieces function as three-dimensional drawings, while the flat pieces provide more of an illusionary or painterly space where the colors push and pull against negative space. They work together as parts of the same exploration that is still in process.
No one has applied narrative on these. I think they defy that temptation. These are more essential. I think that the formal quality of the drawing you’re talking about, the sensual feeling, that’s the concept which replaces narrative.
I believe the act of re-looking inevitably brings something new. There’s a certain throw-back element, that I suppose I would’ve been insecure about when I was shooting for newness and innovation. The job of a contemporary artist is to set one’s self apart from everyone else.
Even if my work doesn’t appear to critique or grapple with earlier art, it is contemporary in refusing to do so.