Suspended animation, medical curiosities, scientific displays and biological specimens. Improbable creatures in impossible situations. These are some of the ideas that I incorporate into my sculpture and other artwork. I call them "my creatures", because that is what they are - unknown organisms that take shape in my mind, the roots of which come from a lifelong interest in strange biology, microscopic life, the human body, and basically anything else ooey, gooey, or otherwise creepy or unusual. Many of my sculptures can be interpreted in various ways, looking like either some strange, as yet undiscovered invertebrate, or like part of a human organ, or some unusual form of alien life. Many of them have their own personalities, showing an almost human set of emotions reacting to whatever unfortunate situation they find themselves in. They find themselves stuck in various displays, jars, hangers and the like, not a situation they chose to be in, and certainly not a comfortable or nurturing environment. They are on display for the amusement or curiosity of whoever is viewing them, and the viewer is as much a part of the dynamic going on as the creatures themselves. Their environment is somewhere between an old scientist’s collection and a sideshow, the display being both haphazard and careful at the same time, utilizing found bottles and recycled displays, but always keeping in mind the best way to view the specimen. And as incongruous as it may seem with the subject matter, there is also an element of humor surrounding the work. Although the creatures and their displays may be somewhat disturbing, there is also something almost silly about them, like bouncy, squishy little toys. A bit of dark humor thrown in to keep the viewer giggling a bit, as it is so important not to take oneself too terribly seriously.

As my subject matter results from a blending of reality and the unconscious. I choose my materials to emphasize that aspect of the work. The synthetic materials that I use in my work have unusual tactile qualities which lie somewhere between real and unreal such as flexible urethanes, silicones, and latex. I have found that I can push these materials to get certain effects that are just not possible with more traditional materials. I also like the fact that it is not always readily apparent what the material is - the finished works often have a very sensual, skin-like appearance and texture to them, which adds to the overall feeling that the sculptures are living, breathing specimens.

I make a strong effort to experiment with my materials and ideas, and to push the envelope so to speak. People tend to want to touch and interact with the sculptures, and they often have a very emotional response to the work, either positive or negative - either is good in my book, as long as the work affects them in some way. I often try to play opposite emotions against one another, for example, the play of fascination vs. repulsion is a strong element in my work, and I think that is a big attraction in the human psyche - people are afraid of disturbing things, yet they are fascinated by them at the same time. If I can create that type of tension in the viewer’s mind, then I feel my effort has been successful.