Small objects—such as atoms and other particles--naturally group together to create larger entities makes up the universe. This constant is a universal truth. To me, it is this truth that embodies what we know about, and what we are, as the human race. The thousands of industrialized parts I use to create my work forms a minimalist symbolism that is intended to evoke an emotion about our culture. My acknowledgment and understanding of these truths serves as the foundation for this body of works, which are comprised from thumbtacks and nails. I use these materials to create forms with meanings behind them, which are conceptual, yet accessible and clear to anyone who sees them.
One thing that first intrigued me about tacks was the mirror-like quality that the nickel tacks possess. The reflective quality offers an immediate and direct interaction between the viewer and the piece. It is my intention, therefore, to encourage viewers to first begin their own self-examination before connecting with the larger issues raised by the work’s content.
Another reason I use tacks and nails is that I like to imagine each tiny object as a distinct individual, which comes together to form and be a part of a larger population. Like people, the tacks are all manufactured in the same way, with the same parts—but still they take on unique qualities and exist individually. I make it a point to include every usable tack that I have available—I do not delete them because they might have deformities, or edit them if they migrate from their original color family (for example if a silver tack accidentally finds its way into an area with predominately white tacks.) In both in life and art, I believe in destiny and fate and try not to interfere or make judgments.
There are many other ways to interpret my chosen medium, for example—the tacks can be viewed as pixels on a computer screen, cells in the human body, or stars in the universe. These ideas are drawn, primarily, from nature, where seemingly insignificant objects are often combined to create something beautiful, complex, and meaningful. I hope to convey that there are important connections and similarities between science and social traits—and hopefully, like television pixels on a screen, my audience will be drawn into various conversations. For example, the subject matter in my series of black works primarily addresses ongoing issues in our world today that affect us all. From the use and acquisition of natural resources and the predicaments these cause, to potential solutions and outcomes that are yet to come, I consider my work as an iconographic representation of our current situation as a world community.
I also hope that my work will draw comparisons between nineteenth century styles such as Pointillism and the art of George Seurat—or more recently, the work of contemporary painter and printmaker Chuck Close. My approach, however, is far more industrial and rigid and utilizes only a limited color palette. In the future, I plan to push my use of color further and to experiment with custom color-coated tacks to see just what might be achieved.