To the frustration of today’s scientific mind, the mechanics of visual art have remained largely arcane. This taunting denial of revelation baits the exploratory type.
However, it is by no means the only thing that draws me to the visual arts. //

Visual art can render the abstract tangible to our senses.
When art is shared, the separate, subjective realities of creator and observer enter into covert exchange. At it’s best, this exchange can enable disparate worlds of perception to interlink. This is where I see potential. In this process, something that is greater than the sum of its parts can arise. An emergent expansion of consciousness can occur, opening windows to the unknown.
When I recognized this potential, I devoted my time to visual art.

I don’t choose what occupies my mind.
However, I observe that most of the ideas that come to me are moving sculptures, installations, and films. I collect these ideas and develop them. I model them in my head, I add and subtract elements. The ideas that keep exciting me in this process turn into projects. Each project helps me chart new regions of my own, subjective world of perception.

Visual art is my language of choice.
Shape, motion, texture, color, light, and shadow are my vocabulary. My hands and eyes are tools which give form to ideas. From sketches to models, from prototypes to sculptures, and from storyboards to the final cut. Manual work defines my projects as much as mental work does. The more I learn, the more I can give form to. The more I can give form to, the deeper the stories I can tell, and the more powerful the ideas I can share.

And when stories reach deep enough, when ideas are powerful enough, they can get disparate worlds of perception to interlink. They can open windows to the unknown, beckoning those who see them to explore.