Encaustic Arts Magazine WINTER 2017 - Page 135

“Art consists of limitation. The most beautiful part of every picture is the frame.” —- Gilbert K. Chesterton My work evolves from an appetite to recreate sounds of white-water crashing against rocks in the middle of nowhere, as well as the visual stimulation of the grittiness in urban life. Raised in Philadelphia but also comfortable and content in the woods and on rivers, I’ve always been attracted to both the straight-line patterns of the city buildings and streets, as well as curvilinear shapes and sounds of nature. These designs and moods are repeated consistently through many of my pieces. What excites me is finding these fractured moments in a variety of processes and places. As an interdisciplinary artist, I create works that include encaustics, wood, photography and mixed-media. My art process includes a combination of traditional encaustic techniques, with modifications overlapping and integrating onto my fine woodworking background and methods, approaches and styles. I seek to challenge the viewer to look around the corners for what they may not see upon initial observations. In my encaustic work, this challenge presents itself through the sculptural nature of my pieces. In many situations, my pieces have multiple perspectives as they project their presence in a three-dimensional format. As sculptural art, the pieces have a traditional central viewing point, as well as inviting the viewer to transfer their attention to other parts of the room or space that is within. This invite to the viewer is accomplished in part by shadows and other effects as the viewer walks from side to side and studies it from different perspectives. The piece develops a living presence, and the viewer has an opportunity to bond with the piece, because of its dimensionality. Design elements that my sculptural qualities tend to bring forth include line, shape, texture, form and space.