It starts simply enough, I’m on a walk through the city, in time, through space. I notice this amazingly beautiful moment, neither object nor image but a moment of visual intrigue; textures, movement, archive. It’s not in a museum or gallery, it’s right there on the sidewalk, in the street, on the wall, in the alley. These compositions, these records of an event created by the wear and tear of the city, the environment, the deterioration in time. Worn, weathered, scratched, scarred, stained, and cracked, these elements form a composition.

Does anyone else see this? Does anyone else care? This is the instant when the aleatory* becomes vital, upon being regarded. I want to remember these events. I want to capture these unassuming moments, this perfection in the imperfect. I engage in a discourse with the urban landscape through my interaction with the landscape. At times I’m recording a piece of the cityscape; the surface of the work is literally a relief of an urban site, a psychic and actual archeological entity. I utilize the language of found objects, of surface, and the interaction between the formal, pictorial and sculptural. These are the artifacts of detritus, which interact to become a visual dialogue between image and event.

*aleatory and aleatoric - composition depending upon chance, random accident, or highly improvisational execution, typically hoping to attain freedom from the past, from academic formulas, and the limitations placed on imagination by the conscious mind. There is a tradition of Japanese and Chinese artists employing aleatoric methods, many influenced by Taoism and Zen Buddhism. In the west, precedents can be found among artists of ancient Greece, and later among artists of the Italian Renaissance. Leonardo da Vinci (Italian, 1452-1519) recommended looking at blotches on walls as a means of initiating artistic ideas. -ArtLex Art Dictionary