Nearly all of my work is comprised, in large measure, of found materials. The recognition of significant forms among seemingly insignificant refuse is the first stage of my creative process.  I later take my lead on how to employ this "mined" material from the particular look and feel of it, and how it appears to relate to other materials I've accumulated.  When some sort of possible functionality is in evidence, I may follow that lead; sort of a reverse-take on the dictum, form follows function².  But, as I am especially attracted to man-made objects that nature has begun to reclaim, often to the degree that their original purpose has become obscured, my work often requires discovering, or forcing, purely visual relationships between shapes, colors and textures, and the negative spaces around and between. When necessary, I adapt store-bought components or fabricate them from scratch. 

The resulting constructions and assemblages sometimes attempt to communicate a message about the human condition, either overtly or subliminally.  But often the work is simply a record of my efforts to create order out of chaos, and to reveal significance in the seemingly insignificant.