Paper
Creativity is eternal and shouldn't be confused with creation. It does not improve with practice. Nothing about it can be owned, claimed, or held. What is genuinely creative moves when the artist is quiet or absent. When he loosens his grip, the work arrives of its own accord, as if from depths which surpass authorship. The artist does not necessarily create in any fundamental sense; his work is not evidence of specialness. Furthermore, he is created by the work. Creation seems to be a mere movement that uses people without sanctifying them.

Photo
Looking and seeing imply a desire to enter into something, to inhabit it. Yet too often this desire turns out to be mere curiosity, and even before crossing the threshold, we find ourselves helplessly on the outside, feeling somewhat sheepish, as reason has replaced both our senses and our spirits as the principal means of comprehending an elsewhere that has become colder and ever more remote. What remains is an abstract form of understanding that no longer requires presence. Reality is precluded from us because the world appears to be entangled in our very pointing. Photography mirrors this crisis of seeing, fracturing the immediacy between observer and observed. Images are a way of looking (a viewing experience) rather than a true copy of reality as it is. They make the absent present and the present absent. Thus, what has become important is not the seeing but perhaps the observation of the instrument that is looking.

Sculpture
How can a human being, ensorcelled by language, experience something that is not linguistic? Speaking already presupposes a distance from what is happening. What is sought here can be found neither in thinking nor intuition; goosebumps come closer to it than the retina.  At the end of words, we must journey toward something not yet a word, something that does not exist unless it is embodied, and that is all the more present the less it is known. How can language be transformed from a communicative tool into a sensory phenomenon? The artist fashions toys that provoke unexpected collisions of disparate phenomena in the mind of the observer. There is a purpose in view, even if no certain destination exists.