I've been making (sculpture) since the mid 1970's. My earliest work was constructed from various combinations of wood, steel, limestone and assorted hardware (preindustrial). Subsequently I used steel, concrete and sometimes waste oil (industrial). Then it was painted steel (auto-industrial). Next, there was a series of electromechanical, kinetic works followed by a long period devoted exclusively to welded steel (psycho-industrial). In recent years I've used an eclectic mix of aluminum, PVC, Home Depot, microprocessors and other appropriated materials
(pseudo-industrial). All this work was largely abstract, never figurative. It was always about process and technique and was rarely, if ever, representational.
In recent years, I've been working on a series of high resolution digital prints on canvas. Many of these prints represent output generated from a software application I've written. I like to think of these as non-objective art created using objective iconography. Think of each icon as a brush stroke or a splash of paint. Although each of the individual
elements may be a recognizable 'thing', the resulting composition exists purely as a formal exercise in color, shape, juxtaposition and orientation. There you have it.
Lately, the digital work has taken a turn towards collage. Combining and repurposing imagery from multiple sources my most recent work has developed a narrative thread. Subjects lightly touched on include digital encryption, internet privacy, cryptocurrency, communication protocols
and national security. While these topics are present in the imagery my focus remains largely on formal concerns including line, shape, color, balance and articulation. Influences and interests include but are not limited to... Iconography, entropy, Claus Oldenburg, Michael Heizer, Survival Research Laboratories, Robert Smithson, infiniti, zen/calculi, Marilyn Minter, Andy Warhol, symbolic logic, Richard Prince, Martin Puryear, and of course, sub-ethereal decay.