Blu Magazine issue no.11

Page 35


or brush dipped in sumi ink. So the short answer is yes, I know the gestalt, the overall feeling or gesture, I want from the finished piece, but the particulars are always a response to the space and time I am given to work with. How do you start a sculpture? What's your process? For me it starts with the confirmation of the dates of an installation. Next I usually get an image of the space from the gallery or venue where I am working. I then will post images of the space I am going to work in on the wall of the studio and draw on these images. As my schedule has filled out I now have several of these gallery maps on the wall of the studio and am starting to see a dialogue between the work I have made and the work I will be making. Around three weeks before the building is to begin on site, I will order the materials and ship them ahead to the site. This way by the time I arrive on site to begin the labor, the piece is essentially finished in my mind. For the discreet objects I make, I generally have some materials lying around the studio or I will cut up an old piece to make a new one. I guess even though I am heavily invested in the process as a way to make work, I always like to know the destination for the work. I think that goes back to the drawing analogy where there is always a feeling or a gesture I like that I am after and I try to make the work match that feeling or gesture. If given the opportunity I always try and make something specifically for a venue or show. Who are your inspirations? Mostly British Sculptors from the 70's and 80's like Tony Cragg, David Mach, Richard Wentworth, Richard Deacon, Antony Gormley, Bill Woodrow, Andy Goldsworthy, and some Americans from the 60's like Donald Judd, Martin Puryear, Sol Lewitt, Brice Marden, and Richard Serra. How do you take your coffee? Funny, I don't actually like coffee that much. I prefer bottled water. If I do get a caffeinated drink, I like a double shot of espresso with one sugar.

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