I am developing a body of research that involves two distinct approaches. First is philosophically based work as a studio artist in which I strive to materialize ideas that are grounded in my own ontological inquiry. This philosophically based work is contextualized to critically examine (with some humor) Western cultural conventions and practices. The products of this research are most often sculpture, electronic media, and installations. Second, I seek to discover corollaries between traditional South Asian iconic forms generated for sacral use and the formation of secular, modern/post-modern objects. This second vein also includes research into the process of traditional icon making and has thus far included four periods of field research in South Asia.

My studio work is conducted by using the visual vocabulary I believe will most effectively bridge rational, linear modes of experience with those that are intuitive. In our culture’s prevailing environment of data accretion, with a pronounced reliance upon mediated information, I feel it is important to understand the impact these conditions have upon our cognitive experience. Linked to our appetite for topical, mediated information is the diminution of our sense of a collective mythos, or in Heidegger’s terms, our ability to ‘dwell in the presence of being’. My work explores this apparent attrition with particular emphasis upon the orientation strategies we implement in relation to ideas of time, ephemeral existence, decision-making, as well as the veracity and longevity of data. There are specific practices that help me to think about these issues and how they might be given artistic form. I work contemplatively in the studio, employing traditional esoteric strategies to experience more subtle conscious states, and I am an enduring student of diverse philosophic systems.