In recent works, my practice has begun to circle around a line by British poet Raymond Antrobus: “An absence of birds in a poem is not an absence of birds in the world.”

I have begun to approach the unknown—and the absence of certainty—with a kind of fervour.

Fascinated by history and the continual unfolding of new fields of knowledge, I am struck by the persistence, even the intensification, of dogma in contemporary culture. This hardening of belief emerges while we swim in oceans of knowledge so vast that truth itself can feel unknowable—let alone the immeasurable depths that remain undiscovered.

Paradox, uncertainty, and tension are treated with a high degree of respect in his sculptural output. I search for an equilibrium between opposing ideas and materials, often reaching toward symmetral and geometrical form while asking contrasting materials to interact. Silicon meets stone. Friesian cowhide meets pāua shell from the South Pacific. Obsidian and resin.

Through these encounters I attempt to create icons of the absurd, mysterious and unresolveable. An empire of dirt. Uncertainty, opacity, and tension elevated and framed rather than resolved.