As I embark on the assembly of my most recent work, Bounce (top left), I continue to question whether particular components of this sculpture or "apparatus" are finished-- what it means to be finished-- and how this work (along with a majority of the work to be unveiled in Imaginate (coming May 4, 2016 to Boston Sculptors Gallery) has oddly strayed from my previous constructions.
In the early stages of this precarious fusion between a home-made Adirondack chair, pogo sticks, resources for everyday life, and additional athletic materials, these objects (the chair and pogo sticks specifically) physically join together with a quickness and directness that reflects the makings of the unconventional engineer-- and might even parallel a child's language of and engagement in assemblage and / or make-believe. I continue to view this work in progress with an excitement for the unfinished and an approval for the confident and spontaneous nature of its assembly. Authenticity becomes the foundation for my actions. I am conflicted by my obsession with something as simple as a set of clamps holding the form together and the adverse production quality of prior works made (top right). As one responding to the connection between renovation materials or methods and the language and innovation of toy making, I am overcome by an urgency to produce a finished product-- something that strangely lives between art, craft, and product-- something that potentially awaits the user.
Now, in the state of this "finished" product that awaits some kind of use, I consider whether my definition requires modification-- that the object will remain in flux through the life of its use and through its use, only then will it feel finished.