The Immoral Forest
The Immoral Forest investigates the previous
life of wood and revives cast off elements
in ways that question relationships between
man and nature. Society’s corrupted
pieces and dishonest parts are reformed.
The objects created with abandoned elements
are misguided growth; photosynthesis gone
wrong. Tree trunks, branches, and shop scraps
are held together, again and again by traditional
wood working techniques and welded metal.
The existence of the recognizable and unfamiliar
properties of wood creates a reemergence
of life where life had been cancelled. Where
nature once created growth, my art creates
objects and space from discarded leftovers.
The decadence of trees (the color, structure,
grain and growth pattern of their life) is
reinterpreted, distorted, converged and reconnected
with metal scaffolds, lamination and joinery
to visually reverse and abstract death into
life, solids into voids. Metal and wood do
battle with each other while creating a surreal
harmony. The metal constructions support and
pierce the wood, offering an uneasy but essential
The resulting sculptures communicate and interact
with the viewer. Sometimes, the focus becomes
the grain of a single piece of wood. The mind
is enthralled by the exposed beauty of death.
Often, the wood disappears and the negative
space becomes the subject; the void becomes
the object. The eye perceives the empty spaces
before it sees the wood that creates them.
The mind questions why it is uncomfortable,
and at the same time, appealing to see what
is left of a forest.
I work to understand the nature of the found
wood and reassemble it into an afterlife. Though
the tree’s discarded scraps are no longer
able to continue their process of growth through
photosynthesis, they are able to again achieve
form and structure. My art communicates by
giving trees a second life.
Drawing as introspective meditation allows
me to ponder the subject I am delineating.
Focusing on a piece over time, I develop a
more complete understanding of the image. Originally
I drew my architecture and furniture designs
as a means of further defining their forms.
After marriage and parenthood, the themes have
become explorations of relationships and history;
of hopes and fears. I spend weeks to months
exploring the recesses of my emotions.
The drawings begin at a small scale, achieving
increasingly larger unifying orders of datums
to create a composition. My technique fills
small squares with parallel pencil lines. Drawing
in this manner, with very sharp pencils, over
a long period of time, forces me to become
more aware of the communication I want to achieve.
My process enables me to design, see and alter
the project as it evolves. The sensation is
similar to closing ones eyes to hear more sounds.
When you view something from a micro to a
macro scale, a more complete understanding
of the image is possible then by simply viewing
it from a distance. My drawings are meant to
be viewed from the detail level of the lead
work; then as grouping of small objects; then
as large composition. I want the viewer to
look closely and understand and think about
the process and technique that created the
art, as well as the emotions and the image