Imagine looking into a stone as if it were a floating form of water with the abstract concept of submerged thoughts and ideas suspended as swimming entities through and around its inner being. Not much different than the whole of the earth
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BELOW  The hammering and melting of metals into lines that have been cut and polished before the surface of the stone is ground and polished. 

The junction of five elegant statements:  suspended mass, edges that are cut,  broken and polished, casting a powerful shadow

​"WHAT IS AND WHAT PASSES THROUGH"
 
Directly above is an image depicting the process of integrating a silver/tin solder alloy by hammering and melting it into the channels and circles previously cut into a large stone surface. The next step is grinding the surface flush, so as to start the long process of polishing every contour of its mass to a glass-like surface. In the image directly below, the sculpture is seen perched on a one-inch diameter, solid, stainless steel rod, giving it a singular, suspended look. It is as if, in its supposed or perceived solid state, it is traveling through some type of constant happening, with the embedded silver lines abstractly hinting at the symbolic idea of thoughts traversing within and through the stone form. This transversal suggests that perhaps our past is not as constant as the self-created timeline we believe ourselves to be a part of. In the light of science telling us how a neutrino, "the most tiny quantity of reality ever imagined by a human being" (F. Reiner), having no mass, can pass through one light year of lead. Or if seen through Young's "Double Slit Study", it is the power of thought and observation that changes the behavior of the electron. If true, in our own lives, we are seeing so little of what actually is and what was, not always seeing an object for what it could be. Questioning all we know, what credit do we give gravity, and to what image of boundaries, do we think mass to be? As we are taught history, in a two-dimensional timeline, do we only see the leaves blown across our path, not knowing from what tree and what roots they come from? If we are taught to recognize the greater sphere around the path, the totality of creation, knowing the different trees and objects in such a way that our thoughts become the greater mass before us, we are indeed lucky. That is the artist’s task— to enable us to embrace the larger view, to take on a greater sense of gravity than the mere juxtaposition of the rock next to the path, making something, finding the connection, physically building something with the rock and the trees.
Constructing with elements that are not only limited by-products of history itself.

BELOW is an image that shows my desire to magnify the stones irregular surfaces by polishing them to a watery organic state and accentuating them with flowing lines of silver inlay.

The junction of five elegant statements;  suspended mass, edges that are cut,  broken and polished, casting a powerful shadow.

​BELOW ​"Black Swan"   This work was dedicated to the same concept as above but focuses on the concept of "intersection". The base is a form of its own and the stone seems to not only go through it but represents some type of synthetic form alien to nature its self. The arcing lines of silver with their dramatic confluence reiterate the physicality of the two forms.