The following is the process I go through in my intellectual, imaginative, spiritual and physical self to execute my sculptures.

My observation is that science has determined in studies of microbiology, the atmosphere, the cosmos and theories behind “Dark Matter” that there really is “nowhere” where there is “nothing.”

In 2D illustrations, such as comics, a line is drawn outside the body of the figure to give the illusion of motion. The artist communicates this and the viewer sees what is indeed, not there.

As another example of this optical illusion, a thin white line is painted across the expanse of red paint on a sports car to fool one’s eye into believing the car is lower to the ground.

In my perception, this supposed void provides a blank canvas for imagination to render in physical form, imagination’s perceived movement of line, shape and color.

Architecture, machines and the motion of nature are equally inspirational for my work, in that designs come from three basic mindsets: mechanical, organic, and/or a collaboration thereof.

My “creativity” often starts with doodles. I have become very fond of using magazines of fashion, science and design for sketchbooks. I sketch responding to the open air space, indications of motion, shapes within the space as well as the predetermined general aesthetic of the space.

Visible lines in these sculptures are an indicator of, either directly or indirectly of, motion.

Lines that would be the ghosts of waves such as sonic, optical (light) and aquatic.

Lines also serve as a boundary or a determination of a specific space (the negative space) whether terrestrial or astrophysical. The “positive space” aspects serve to determine yet more visual weight and kinetics by way of color, size, shape and density of each of these.

As a result of this mental and physical design process, the sculptures I build are typically nonobjective with an occasional departure toward abstraction (i.e., the “addiction” project).

Materials consist of aluminum, brass, bronze, copper and a variety of steel in the form of rods, wire and sheet. Varieties of detritus (wood metals plastics) often find their way into the build, as the aesthetic dictates.

The end goal of the design is to build the work to appear kinetic to the eye, to keep the viewer themselves moving, even when the work is indeed, static.