The elusive building+mountain+language synthesis becomes closer to an ideal through the process of working in bronze. And interestingly enough after completing scores of sculptures in bronze I have given myself the license to revisit any material and to continue explorations of those materials in their own right. It’s as if the struggle for appropriate material is past and the serendipity of choice is at hand without the fear of limitation or the need for any finality to the decision. This same freedom has evolved in the paintings; with the ideal being more a product of combining previously stated forms than the need to develop completely new strategies. However distant the current works seem from the classicalness of the Chinese mountains when viewed together I perceive a symbiotic kinship between all the work grounded in purity of intent. I can now refer to the various forms the search takes as archetypes. They have developed by virtue of an intentional response to one another; sometimes logistical, often emotional and at times intellectual. The dimensional relationship between the width of brush strokes echoes the massing of forms in sculpture; the working of a section of a city superimposed onto a brush painting fit in style. Yet each of the various mediums are a category unto themselves. It’s as if a giant three dimensional puzzle has been created over a period of twenty years which performs like a giant crystal; constantly growing, exploding or imploding according to my emotional need for either discipline or freedom. In the studio I am always working on two or three projects at the same time. This keeps the work fresh and the contrapuntal nature of discovery elastic. There is always a leading edge on which the work stays and another edge abutting it’s history. I believe this is he definition of a modern artist: that we work in a state of suspended challenge; half way between what we know and that what is unknown and uncharted.

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