My collective experience brought me to a point of not knowing. I have been heading this way for some time, seeking something less finite, unresolved; questioning relevant methods, and letting go of things that are so deeply known as to become habitual, comfortable, affected.

In the past there has been lightness, thinness, a sense of volume, inflated forms. For years there has been a sense of placement and portrait, and the rigorous consideration of identity, history, society. This is the groundwork with which I entered into a new formal experiment in the foundry.

I do know foundry work is hard. But hard work is not automatically righteous; there is still cause for critique in process and outcome. Mold-making for cast iron is a dedicated craft - short cuts could be fatal. The foundry art object is realized as a pattern, a negative space, inside, outside, a dense metal solid that represents an immaterial thought. At each step I revisited the artistic concept, considering the relationship between the urgency of expression and the exertion required to reach the next step in the process. There are many opportunities to retreat, and also to fail.

I worked in a production facility, yet I made unique objects. I built patterns for one-time use. In developing form, I turned to what I know - the qualities of sheet and methods of formal analysis through scoring, bending, folding. The cast object is fixed while it attempts to capture the improvisational aspects of the sketch and the model.

The moment of the pour is mesmerizing. The idea that I was pouring sheet metal occurs to me. The irony between the delicacy of the surface and the density of the object motivates me. The nature of materials and process speaks; craft becomes and image; not knowing is known: this is the content of the work.