I create both intimate and large scale sculptural installations in response to the tensions inherent in the production of ‘place’. Although I am a conceptual and socially engaged artist, I am ultimately a maker. With a straightforward fascination for ideas and objects that grow, transform, and reshape themselves, I create work with a quiet division between the hyper organized desire to dissolve into the world and the need to buttress margins. I am most well-known for my sculpture which utilizes both fabricated and carefully appropriated industrial steel bi-product scavenged from regional fabricators to ‘show and tell’ a piece of the suffocating dislocation of matter. I arrange and weld these modest forms to mimic the manic intensity with which we structure our world, i.e. the human agency to arrange and work nature/ culture.
I was born and raised in the small town of Belen, New Mexico, in 1961. The world was exceptionally small for me at a very young age; and it wasn’t just because I grew up in a seemingly inconsequential rural community. What I mean by small is that at an early age I was aware that the lines between the local and the global did not exist. I could stand out in front of my yard and see the fluidity of the world— how the world visibly carried itself around: ten yards to the east of my family home the BNSF train line with box cars of socks and automobiles and loaders from everywhere slowing to a ricocheting halt; then two yards beyond there the fleshy acequias (irrigation canal) of the middle Rio Grande, the water visibly circulating both itself and its histories; then 1⁄2 mile lateral to the east the flat and low Rio Grande a corollary for the displacement of small and large regional life; and finally 1⁄2 mile equidistant to the west, Interstate 25 carrying with it the long heavily urbanized stretches of Denver and the eastern urban tributaries, like another great river past my house all the way down to El Paso and beyond.
For me, human geography is complex and malleable with its hundreds of intersections between the physical and cultural landscape. The man-made microcosms combined with the expansive natural environment have been the catalyst for my interest in the systems and spaces we inhabit. Through sculpture, interventions and film, my interest is in translating how the intermingling of tradition, colonialism, modernity, American socioeconomics and the increasingly postmodern circumstances of technology saturate and transform the landscape. I especially like to perform fantasies of natural objects and relations to expose not only the real strangeness of the world, but also the ideological forces that influence our conceptions of both nature and relation so that I can imagine and communicate the immense complexity involved for any entity.