As learned through the design of buildings, mainly public buildings, projects become rich and thoughtful through the process of design. Working and re-working iterations in a tactile manner through models and drawings hones and develops a project from a simple idea into an interweaving of informed decisions that transcend the work from good to great. Counterintuitively, the more constraints placed on an architectural project from the beginning inform the design and guide the process towards a better outcome.
The process of making art is not dissimilar. Discoveries are made and built upon during the total immersion of making a piece which informs that work and/or contributes ideas for the next. As in Architecture, craft is an important component in working. Thoroughly immersing oneself in craft and honing this skill throughout the process of creating yields pieces that are just as important as the finished work that is being constructed. Jigs are made. Waste is collected and saved. A book has been cut in order to extract the words or names needed for a drawing. Something from everything and everything is potentially a work of art.
As a conceptual artist I am most drawn to working with material and content that comes loaded with ingrained meaning and nostalgia. I typically identify with a concept, whether playful or cynical, in the media I choose and this becomes the starting point. From here I begin to deconstruct and completely displace the intended form from its original context. Re-imagining and refitting in a very tactile process until a new form emerges along with the hope that a new perspective will be perceived from something that had such engrained prepossessed meaning, challenging what we all take for granted.