My new work is about repurposing and recycling, and stands as some sort of trophy of our culture of consuming and discarding. Ordinary and found materials -- driftwood, plastic packaging (blister packs), glitter, paint – are transformed into something profound, a way of taking the world we’re confronted with, acknowledging and shaping it into something of value.

My point of entry was a fascination with friezes – relief sculptures decorating buildings -- plaques, and trophies, and how they hold their own space in the world of art.

The merging of driftwood and blister packs have a contemporary / historical conflation that is really compelling. Somehow the pieces feel both ancient and futuristic. Nature’s process of making driftwood over time, blended with form-molded plastics, alchemically conjoin to make something completely new. A bizarre totem, sentinel, encrypted signage come upon a post-apocalyptic woods. A charged radiant icon you have no idea it’s purpose. The sparkly sugarcoating lends a lush desirous quality, a craving, product-lust of satisfaction.

This approach has nudged a painter firmly in the arena of sculpture. The trout plaque / riffing on friezes - has morphed into something actually 3D. These sculptures are glistening totems unto themselves, sugarcoated manifestations of the divine.

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