I first became interested in concrete as a medium in art at a time of inconvenience. It was a juxtaposition of my state of environment being reduced to a confined idea yet my presence of space belonging to a vast impermanence. I was drawn to concrete; the thought of working with it was a longing for process that required both medium and workspace to counter the present condition. I was intrigued with the idea of shaping the thing that confined my person yet rendered me ambiguous.
Three years later, in early 2007, my situation had changed to accommodate this force of idea. Space opened around me so that I was able to work outdoors where the air went on forever and my sense of existing transiently had become grounded in routines of gardening and baking.
The embodiment of temporary disguised as permanent verses the tangible as impersonating the fleeting happened as I stood in the kitchen with the newly baked sweet cake wafting about as I gazed out the window at the garden. I was wondering how I might install borders to the garden. I glanced at the table with the cake, at its beautiful shape. The kitchen was a place of beauty being created and then consumed. The garden was a place of ever changing stability. Concrete borders I thought and again my mind turned to the medium of concrete creating dialog by defining itself it defined what it was not.
I began pouring concrete into all molds found in the kitchen and creating organic installations. These beautiful shapes alluded to the impermanence and constancy of our environments and existence under the principle that we are shaped by what does not conform us and we are grounded in what does not remain.