The Emergent Series sculptures are presented like traditional paintings, in frames hanging on a wall. When viewed head-on the sculptures appear to be abstractions on  two dimensional surfaces. However, by hand sewing a skin of fabric to precisely fit the undulations of an underlying metal armature I have fractured the two dimensional plane. When the viewer walks around the work, they awaken a parallax between the extending parts. The effect is as if some great energy has spontaneously loosened from within or behind the two dimensional plane. As the viewer's vantage shifts the forms yearn outward like turbulent waves, arcing and spanning in protean manner. When the viewer resumes their head-on gaze the forms subside back into the perceived two dimensions. It is my intent in the Emergent Series to sustain this binary relationship, the push and pull between dimensions, the back and forth between the disciplines of painting and sculpture.

I use only found fabrics in the Emergent Series, believing that found materials are imbued with a long history that will continue to speak within the context of the new work: a wasted sheet discovered while backpacking or a sun cracked tarpaulin hanging half pulled from its staples like some nameless hide where it once covered the window of an abandoned home. I take cues from these materials when further staining and distressing them, to create compelling surfaces. This is a long process in which forms, colors, and textures emerge. Some persist. Others are swallowed up in the emergence of new forms, colors, and textures, but the ghosts of all remain, burnt into the object like an after-image

Through a vocabulary of found materials, a natural-process approach to the treatment of surface, and by emphasizing the binarism of flat/form I am inviting the viewer to experience, through visual metaphor, the timeless notion, shared by all wisdom traditions, consciousness models, and quantum mechanics, of the spontaneous generation of form out of the field of uncreated potentiality.