The caring investigation of things is a craft of its own as well as an
aesthetic activity when rightly undertaken, and much may be
disclosed through it.  When we seriously and sincerely attend to
the quality of our engagement with what is before us, our
engagement deepens and we gain a higher degree of insight into
the matter at hand.  When viewing art with hopes of being
touched by its content, I know of nothing more useful than this
paired with patience.

Physical structures (whether human-made like a work of art, or
naturally-occurring like a plant) have stories to tell, some of which
have real significance for us. Receiving them usually requires our
first-hand investigative participation, unless we rely solely on some
third party to fill us in. Even when they do, it isn’t the same as
finding out for yourself. Seeing a mountain’s peak represented in a
photograph is entirely different from climbing to it. Both may be
wonderful, but one has the potential to impact you in a way the
other simply can’t.  With my artwork, I don’t want to make the
equivalent of pictures of mountains. I’d rather invite you to climb.  

I’ll often communicate through structural relationships which have
been (and remain) subject to change. Things unite, grow, decay,
collapse, disperse, and reunite in new arrangements.  
Metaphorical reading of the non-representational truths within
compositions is one way viewers can connect with subjects
having to do with human life, natural forces, and so on. Within the
unfolding of the viewer’s encounter with a work, the availability of
content abides. One might live out a little story of seeking, waiting,
and revelation, for example.  My works may also be read as non-
fictional records of my engagement with the material presented
to viewers.  They are documents of my care, my strengths, my
faults. I am naked in my work but intimacy isn’t granted to
everyone.  I generally keep my front door locked, but there are
ways in.