Can you describe the relationship you have with your sculptures?
 

The relationship is very obviously intimate. The pieces come from just ideas or thoughts, anything. For me, it's about the purely formal relationship of the forms and the space and the shapes to each other and to our environment. Creating art, if you're an artist, I think is a compulsion. If you don't have that compulsion, I think it's difficult to be an artist because that's sort of the source of all the creation.
 

Can you describe the process of creating your sculptures? Where does the idea start?
 

It can come from anywhere—looking at other art, it could be, you know, anything. But I feel like the thing that really, really drives creation comes from the work.
 

Can you describe your relationship with your mentor Bruce Beasley?
 

I was striving for some more practical experience, so I contacted him, and he was like why don't we do a traditional apprentice kind of thing, like an old school master artist and apprentice, and I agreed to do that for two years. He's been an amazing mentor, extremely generous with the shop, tooling and all that stuff, and I'm grateful. I feel like I owe him a lot.
 

What pieces of advice will you keep from Bruce? Is there anything specific he taught you?

One of the big things was just preparation. We work on a lot of big projects that take months to realize, and then the process of installation, you know, working with cranes and all of that kind of thing. So, one of the main things I learned from him is just really, really being prepared for those kinds of things.

You work with technology in your art. Can you describe the relationship with technology and creativity?

For me, it's just a tool to draw in three dimensions and then 3D print a model, which is great. The technology is really just a tool to realize the piece. I have no interest in making virtual art.

Do you feel optimistic about the future of art and sculpture with technology?

I don't feel optimistic about the moment. The idea of all this AI art, I find kind of disturbing and AI in general. But I think people are doing great stuff out there, and they'll continue to do that.
 

What do you want people to take away when they view your art?
 

I hope that I create forms that are somehow compelling and invite some sort of introspection. I would like people to take away that it works well in the dimensional space, the relationships and proportions of forms to each other, and the negative is that it works on an aesthetic level and a formal level.

You make your art and display it in public spaces. What do you think the sculpture’s role is in these public spaces?
 

I think as humans we have this unique consciousness to create art and for it to be a part of us. I think art in public spaces is one of those things that indicates what kind of society we live in. I'd like to think that having art in public spaces can contribute and is an indication that we are important to our society and culture.
 

Can you describe the evolution of your art?

I learned how to weld when I was a freshman in college. I was doing mostly abstract pieces and I continued making work after I graduated, and assembling and disassembling and working ideas and combining different shapes was an epiphany.
 

Are there any projects or upcoming shows that you’re currently working on?
 

I'm working on a couple of collection pieces for private collectors. And I put in a couple applications to compete for some public art projects in California. But in the meantime, I'm going to have this time where I'm not on anything specific. And those are the moments to continue making stuff. I'm trying to look at this time as an opportunity to pursue some other ideas that I have had over the past few years and experiment a little bit.