I've always been concerned with shape, line and color. And these are the working elements with my new wall sculptures. Even as the materials have changed to include plastic tubing, foam insulation, parachute cord and cable ties and other unexpected, industrial elements, the linear quality of earlier drawings remains part of the story. While the current work develops from the materials without preliminary drawings or even a plan ahead of time, I do see a calligraphic element with a memory of starting a line in the upper left corner of a blank piece of paper.
While the new work has a physical presence, permanence is not the issue. In the studio, the pieces are made, installed, photographed, then revised or dismantled. This pragmatic solution to archiving the images rather than most of the pieces themselves is a is a reaction to the cost of materials and the difficulty of storage. Save the Earth is a secondary, but not an inconsiderable, thought. Given the number of sculptures that have been created and documented, very little material has actually been used. And the new, small "sketches" come right out of the scrap box, another aspect of this thrifty endeavor.
Making work that I can handle by myself is also important. From lifting and loading the ingredients, to cutting, fastening, knotting and sewing and to the final installation, there's a direct tactile pleasure in defining space with simple shapes and light materials. If it falls, it won't break. And it'll be re-installed in a different way next time.