Broad and sporadic in reach, I work in many manners and for myriad purposes.
Observably, I draw from my mentoring Grandfather who is of equal parts witful whimsy and stoic solemnity.
While the right hand illustrates playful narratives which poke fun and undermine damaging paradigms, power structures, and cultural absurdity, the left paddles through the raging narratives of how beings struggle and thrive in keeping their heads above water—and how they relate to each other while in the frying pan.
And handiwork, no-holds-barred.
I use wood, wool, wax, paper, hide, oil, tar, sinew, earth and iron. Fibre and filament—industrial materials and traditional art making media. Media and process are important. They carry their own intrinsic value and conceptual weight. However esoteric these may be, everything used to make work can and should be calculated. I rally against the arbitrary and champion the reconsidered.
My work is increasingly multi-genre and mixed media–rooted in narrative and the human figure.
Most easily identified in the past as a printmaker, I have recently been integrating woodworking and craft skills into pieces and processes as well as incorporating my sensitivity to materials and knowledge of antiques, artifacts, and salvageable lumbers, metals, tools, and instruments. I now find myself drawing in these many ways.
While critical theory, analysis, politics, sociology, spirituality, and a variety of other broad considerations are ambivalent throughout my work, I am especially interested in settler/Indigenous studies, colonialism, diaspora, migration, history, language, and myth with a focus on the dynamics of cultural and language loss, preservation, and revitalization. Above all, I admit I am obsessed with tracing things to their origins.
I am highly concerned with authenticity and critical engagement with histories, particularly my own.