Home Selected Statements Triple Helix



From Triple Helix
Ohio University at Lancaster, 1982




Red Plume 1982. Acrylic on canvas and vinyl. 10'x4'x4'.


Art objects are not ends in themselves but the residue--the artifacts--resulting from experience, experimentation, and construction undertaken by the artist as a way to learn about the social and physical world.

Before I began to make art in l964, I had trained and worked as a teacher and then as an administrator. I had lived in two "foreign" countries. At age 30, I was startled and compelled by the discovery that it was possible for a single comprehensive activity to bring together intuitively derived concepts and then to develop them via a synthesis of both physical and mental action. In the years between then and now I threw functional ceramics, cast figurative images in bronze and clay, constructed environments in which individual participants could explore unusual aspects of physical form, devised a sculptural geometry, and, through observing the progressive development of this geometry, have begun to form an independent hypotheseis on the nature of cognition. Recently, having considered the relationship between the developing form of my art and the maturation of my mind, I have used curating and criticism to examine the way in which art interacts with the culture at large. I now see that, in sum, the satisfying and compelling sense of integration which was uncovered in l964 has, in an unpremeditated way, led me into, through, and out of art, and thus back into culture.

As I work in my studio, I pay close attention to two conceptually distinct but procedurally interdependent developments. One is physical, the other mental. Of the two concepts, those relating to the structure of form and the idiosyncracies of individual works of sculpture or series of sculptural forms are most easily described. For example, since l973 I have developed a self-consistent, organic, three-dimensional gemetry. The complete study includes simple and compound helices, closed permutative sets, symmetrical and asymmetrical expanding progressions. The works in this exhibit are from the "Universe" Series that I began working on in l980. They are helical and asymmetrical progressions in which color is a marking device used in post-sculptural analysis.

Cognitive order, as yet, resists categorization. However, I can say that through art I have learned something of the relationship between intuition, experimentation, and deduction; I have become cognizant of the interdependence of language--visual as well as verbal--and thought; and I have achieved an appreciation of the distinction between closed and open systems and of the integral relationships that exist between order and disorder. Finally, and most importantly, I have come to appreciate the essential role that art plays with culture.




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