I certainly like it if the work is beautiful, but that’s a surplus effect. I can only think about that after I consider how it’s made.
I try to consider each body of work on its own terms, discretely, so terms like ‘sculpture’ or ‘photography’, in their broad sense, don’t really enter into my thinking.
My works look to how images are produced, but specially based upon how the material reacts.
I was interested in making work that physically changed as it circulated through the art world.
There’s a generative material relationship between the material and the image that comes up.
It’s extremely difficult to say what one actually means by ‘sculpture’ other than, in a provisional sense, it’s something that goes on the floor or a pedestal, and loosely applies to a certain history of the use of that term.