A r t i s t S t a t e m e n t
|As a graduate student at Tyler, I have used the computer environment for the design
and creation of unique, functional objects.
I am part of a group of students who, under the tutelage of Stanley Lechtzin, have made a great effort to gain training in and gain knowledge of a new way of producing work that is unique and separate from any other. While aware of the importance of the history of crafts and industrial design, we aim to effect the birth of a world of new things appropriate to the new age we live in. Our philosophy of creativity is not merely to make objects different from those of the past, but to create a new way of thinking, to create distinctive rather than different objects.
The body of work that makes up my thesis exhibition stems from my philosophy that in the artifacts of everyday life the individuality of an object is given high value. My desire is to design the object and the relationship that people have with the object, expressing a craftsman-like sensitivity to the personal content of each design.
Just as in the natural world, the forms are part of the essence of the object. Revealing the purpose through the form is my main objective. During the defining process I strive to give an object identity, I aim to instill a spirit. I believe this fosters a deeply intimate relationship between the user and the object. For me, the ritual of dinner, including the connection of events, the shared emotions, the pleasure of eating, the life cycle, all this and more, gives me a focus, not only on appearances, but on a layer of cognition that renders things meaningful, alive, and useable. No artifact can survive within a culture, that is be conceived, produced, distributed, used, maintained, or cherished, without being meaningful to those who move it through its defining process. Meanings arise with human interaction and the emotions that arise with perception and use.
Throughout this century craft and machine have coexisted, interchanging ideas and approaches. At different times hand techniques have become possible by machine, and new materials have emerged to stimulate radical change. The process continues today, and an intricate interweaving of art, craft and industry has emerged. Now, the introduction of CAD-CAM/RP promises to introduce new developments not only in production, but also in shape and form.
The computer environment provides me with a seemingly limitless power to transform and
progress. Through the computer I have gained access to a visual domain filled with
possibilities, a domain that was invisible before. For me, the computer provides a new
pathway to discovery. Such power of creation and transformation provides me with an
awesome medium for exploring form-making ideas and extends my ability to produce