Found objects used in art have always held a place of immense fascination for me. Found objects, in some cases, are art works that are evocative without manipulation in any way. It is this internal energy that I am looking for in found objects, and nothing comes closer to this pursuit than beach combing for unexpected vital forms or the unexpected form uncovered at flea market excursions. Most recently it is the combination of found objects that can take on a spontaneous inner energy that I am especially interested in. Multiple evocative objects when combined can capture and enlarge, even multiply, the inner energy in the individual objects.

In a recent series of sculptures, ubiquitous hand tools have been formed into composite sculptures ranging from abstract to effigy masks and statues both of stabile and mobile form. The marked, chipped, and time-worn tools, marked with multiple owners in some cases, serve to embody a universe that appears accessible and approachable in a fuzzy way as part of who we are as an industrial super-power.

Such objects are rapidly becoming alien to the vast majority, objects from a time rapidly sliding from interest or passion. Their marginal status is trivialized as "wall-hangers" in restaurants and dens. The artist’s compositions of such objects aim to arrest this disregard and trivialization of such objects by making them mysterious and powerful. The objective is to capture the same intensity, mystery, and inner power as that felt in African fertility or initiation/instructional masks and instruments. These old and more recent objects are intentionally honored as the extensions of their original owners and their utilitarian purposes and function.