THE VISCERAL SERIES
There’s a story about Dionysus wanting to salvage his mother from Hades. As an immortal he doesn’t know where the entrance is, so he asks Prosymnos the shepherd, who agrees to show him the way if the god will have sex with him upon his return. By the time Dionysius returns the shepherd is already dead - but a god keeps his promises. He duly approaches the grave-site, cuts down a fig branch from a tree above it, fashions it into the right shape, sticks it in the ground, and proceeds to sodomies himself with it.
This tale seems to me like a model for this kind of making, not to say art in general. The catabasis, the descent to the underworld, the fight against death (both in the rescuing the mother and in the ritualistic revival of the lover), the carving, the absolute bodily brutality of it all.
And this is where these works, these idiosyncratic metaphors and mythologies of mine, live now. These cycles are an ongoing series, laying out a partial narrative while exploring strong expressional forms of material usage. Bodily clay works in subject and in the making. They are smeared, scraped, stuck-together; balancing between a coherent representational form and an array of finger-prints, hand-traces, holes, chasms and peaks.