My sculptures are constructed with materials associated with crafts, home 
decoration, or the backyard. I use polyester Easter-basket stuffing, chicken 
wire, felt, papier mache', nylon webbing, pom-poms, etc. I appreciate their 
democratic accessibility and intrinsic associative powers. They evoke 
memory, confound sentiment and are inherently ambiguous and awkward and thus 
a vehicle for humor and sentimentality. They directly refer to the worlds 
from which they came. I like plywood for its plywoodness.

My construction methods are straightforward and rudimentary. I am not 
interested in hiding how or where two pieces are joined, in seamless 
perfection. The pieces are an obvious map of their lifetime. That lack of 
concealment and directness provides anchor to the everyday world.


My pieces are combined from separate elements and composed with narrative 
and pictorial issues in mind. Narrative structures are played out formally. 
Horizontal placement connotes landscape or movement in space and time. 
Layers imply the passage of time. Shapes and colors repeat themselves in 
different incarnations, indicating change in time or place. Illogical 
compositions establish a context of absurdity, of a particular place with 
its own reason and rules. Assumptions are rearranged.