slumped glass
As a designer and artist, I believe that water and glass walk hand in hand: Both are transparent and translucent. They distort and reflect surrounding colors and forms. And depending upon whom you ask, water and glass are both liquids. The visual and physical resonance between these two fascinating materials is important to me: I know that their interplay adds
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As a sculptor, I always seek ways to use my work to create positive (and sometimes intellectually challenging) experiences for those who have the opportunity to see what I've done. In my case, most of the time I'm not trying to make direct, narrative or literal statements. Instead, I seek to conjure feelings of fascination that lead to appreciation and enjoyment: You don't necessarily have to understand the forms I create to walk away from them with good feelings. When I have the opportunity to work in public settings (as was the case in the project featured on these pages), I'm stimulated by the idea that large numbers of people will be exposed to my sculpture and that, in many cases, those people will be exposed to what I've done over and over again because they'll be passing by at least twice each day as they go to and from their jobs in adjacent buildings. In this case, I was working next to an office tower in Century City - a famous business and entertainment district near downtown Los Angeles - which meant that thousands would repeatedly be walking right past my work and would come to accept it as part of their daily lives. In that light, I see art set amid architecture as a permanent commitment, as a cultural reference that has the potential to resound for generations. This recognition fills me with a heightened sense of
As a sculptor, I always seek ways to use my work to create positive (and sometimes intellectually challenging) experiences for those who have the opportunity to see what I've done. In my case, most of the time I'm not trying to make direct, narrative or literal statements. Instead, I seek to conjure feelings of fascination that lead to appreciation and enjoyment: You don't necessarily have to understand the forms I create to walk away from them with good feelings. When I have the opportunity to work in public settings (as was the case in the project featured on these pages), I'm stimulated by the idea that large numbers of people will be exposed to my sculpture and that, in many cases, those people will be exposed to what I've done over and over again because they'll be passing by at least twice each day as they go to and from their jobs in adjacent buildings. In this case, I was working next to an office tower in Century City - a famous business and entertainment district near downtown Los Angeles - which meant that thousands would repeatedly be walking right past my work and would come to accept it as part of their daily lives. In that light, I see art set amid architecture as a permanent commitment, as a cultural reference that has the potential to resound for generations. This recognition fills me with a heightened sense of
Watershaping advanced by leaps and bounds from 1999 through 2004 – a journey of artistry…
