For a long time, my work had been formatted in a kind of biologic symmetry - a formal presentation in which I felt the object confronted the viewer in a very direct way, and forced a kind of frontality to the situation. Recently, however, I have found myself departing more and more from this relatively stable relationship to an asymmetric, dynamic image which ignores issues of balance and stable composition. Have I evolved from the “classical” phase of my art career into a “baroque”, or even possibly “mannerist” phase? I hope not – it just seems to me to be a natural byproduct of using the human figure as subject matter, and thinking of the figure as an alive, vibrant, metamorphosing entity, rather than as an iconic symbol.
I have never been excited by confrontation with a blank page – there is nothing there with which to react. I am much better when the meeting is between me and a material that already exhibits some character and history of its own – then, perhaps, we can make something together, something new. Both of us might be resurrected in the process, or at least changed, hopefully for the better. To make art is to be constantly given a second chance, another opportunity to get it right, to make amends. I would like to make something which has an existence of its own once it leaves the hand of the maker, something which operates and influences the world around it with its own logic and its own rules, something which is, in the true sense of the word, beautiful.