I have lived in Littleton, CO, for thirty years and turned to full-time art production about four years ago, from a previous career as an instrumentation developer and robotics engineer. I eventually settled on a technique I call “flash sculptures,” which are mixed-media wall sculptures containing found objects that are captured in a state of disintegration, fragmentation, or dispersion. The name of the technique is intended to evoke an analogy with flash or high-speed photography, though the results are three-dimensional rather than two. Furthermore, objects and fragments are deliberately rearranged in physically improbable or impossible ways as a way of amplifying the visual and mental drama.
For the last three years I have been working on a series I call “Fragmentations” in which a found object is carefully disintegrated or exploded, ostensibly because of excessive exuberance during use. Examples include musical instruments, small electronic appliances, and sports equipment. The scope of work has gradually expanded into using large collections of found objects, arrayed in flowing or evolving compositions so as to explore contemporary social themes, such as the celebration of inventions, the joy of discovery, commentary on unbridled acquisitiveness of material possessions, or poking fun at conceptual misunderstandings.