Through my art I am a materialist at the level of procedure – asserting material explicitly in the making of the work. The essential commitment to materialist principles of research into form-making brushes up against an accompanying variant charged with allegorical, even metaphysical leanings. Materialism in and of itself is incapable of providing humanity with the wisdom capable of fully intervening into historical necessity.
All painters are involved with speculations into the realm of material inherent capabilities of creativity. There is really only ever a single question for which the painter is attempting to find an answer: how can it be that matter may be creative? It shall be because matter is not dead but exists as a ‘living’ stratum of all sorts of potential virtualites. The painter who paints finds a temporal index of redemption in the realm of the materials themselves.
When art must remain in some sense ‘useless’ to the social purpose (of utility) the trick would be to negate the false sense of autonomy, which reifies works of art in the assumption of a detached realm of spirit, whilst simultaneously identifying spirit in the very construction itself, resuscitated out of the material elements.
The question is not ‘what can art be without me (the artist)?’, but rather ‘what can art be beyond the artist?’ The two questions aren’t exactly the same. Could it go on existing beyond the artist who initiated it? There exists in this scheme a potential promise that is so often threatened into effacement by the nightmares of history. Art becomes like a time-capsule sent into an unpredictable future. My particular use of materials like polystyrene will extend into a future without me. Through this abstract trajectory for thought I attempt to form the materials into ‘geological’ sculptures.