Rather than concentrate on one medium, I engage a plurality of modes: sculpture, performance, site specificity, and photographic document. I received my Bachelor of Landscape Architecture from the University of Guelph, Canada, and my Master of Fine...More
Rather than concentrate on one medium, I engage a plurality of modes: sculpture, performance, site specificity, and photographic document. I received my Bachelor of Landscape Architecture from the University of Guelph, Canada, and my Master of Fine Art from Cornell University, United States. Previous faculty appointments with the University of the Fraser Valley, the University of Colorado Denver, and Cornell University, all support my current aspiration as an Assistant Professor of Art at Colby Colege. I reside in Portland, Maine, having arrived there six years ago from Vancouver, British Columbia. I have advanced my studio practice with stone-carving residencies in County Donegal, Ireland and Gunnison County, Colorado. Research grants have supported travels to Rome, Italy and the Orkney Islands of Scotland, where studies of remnant cultural form influence my studio production. In addition to projects sited in Italy, Scotland, and Ireland I have exhibited my sculptural and installation-based works at galleries in Colorado, Massachusetts, and Maine. Most recently I have returned from an artist residency aboard the tall ship Antigua, as part of an expedition to the High Arctic archipelago of Svalbard, Norway. I strive to master materials such that the objects I generate will remain physically intact far beyond my own lifetime. My practice results from an interest in pre-industrial objects' conceptual and material significance. This has meant that my work takes various forms, including historical research, material experimentation, performance, and photographic documentation. As a means to understand pre-industrial ways of making, I construct my works using primary materials: stone, bronze, beeswax, leather, and wood. In my interest to construct an object's reference to a previous modality, I locate my practice as a means to present a critical alternative to contemporary mass production. In contrast, the objects I create are made from materials chosen for their qualities of temporal endurance and for their significance to the intended site.
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