Like mankind, the utilitarian objects we use have a life span, a time spent functioning until they cease to function. We are all here for a time, a purpose and then we disappear. In the end, we hope that we are transformed into something divine.
The wall pieces in this series resemble paintings though they cannot be considered paintings. As the artist, I do not paint; the pieces are assembled and constructed from found discarded painted steel. The majority of the steel comes from old machinery, farm equipment, vehicles, etc. The steel surfaces I use had a life, a death and a rebirth. The underlying history and actions that caused these surfaces transpired over many years, thus creating an abstract visual documentation of that history.
I often reflect on the history of the pieces. I think of when the steel was first painted and by who, and how the surface marks were caused, who may have used them and how. The found color plates, their natural patinas and textures are not created by any one individual - but by a collective of man, machine, time and nature. I see my work as a collaboration: between those who painted the metal, the actions of its past, time, the elements, and myself.
In addition to history, these panels add the aesthetic value of intense colors and textures to the piece as a whole. To keep these appropriated painterly surfaces pure, I do not alter them. To alter them would destroy the intrinsic quality and history. The transformation takes place through assemblage and choice: the metal is chosen in much the same way a painter chooses paint from his palette. The found objects thus create a uniqueness that is individual to each piece.
Starting as a child you are trained to recognize objects, what they are and how they are used. I feel there is a certain strength that bonds the viewer to an artist's work who uses recognizable or transformed objects or imagery; especially if the viewer can make the association of how separated the object has come from its original intended use. Although many of the objects I use are recognizable when I find them, through dismantling and reassembling, the primary functions and histories are hidden. This process and transformation is what makes the art important to me.