Simply stated, the practice of making this work consists in being my own experiment. Observing my own becoming out of the corner of my eye, as it were, I watch my work to know myself — since both self and work are endlessly reconfigured in the cohering of experience.
Current work builds upon previous investigations of reality as duality/personality in order to explore emerging aspects of self and modes of being-in-the-world. Conceptually, the work addresses both the social construction of personal identity and the consensual construction of social reality. Yet, it engages these from a perspective outside traditional language.
At the most basic level, all my work – both as artist and independent scholar – concerns how critical configurative elements come together, or not, in combinatory play. In making this work, I am continually asking, “Who is it that we are?” and “What is it that we do?” Who is it that is making the work? What is the work that is being made?
On a practical level, the work is about bringing seemingly disparate perspectives together in a reflexive conversation that encompasses and legitimizes both: precepts and process, contemplation and action, necessity and contingency. It not only draws upon the didactic distillation of "what I know" from thirty years of working with clay and concepts, but goes on to evoke an elusive other – providing insight into "what I don’t know I don’t know."
Grounded in both Cherokee heritage and Zen awareness practice, I like to think the work itself speaks from "no-where" and "now-here", from the zero-point of origin as emerging possibility.