After art school in 2005 I didn’t really draw for several years and, when I finally got back at it, it was in a way that emphasized simplicity and repetition over realism. A decade later, in August of 2015, I had been working on a sculptural structure for about a year. This skeleton of sorts was built from recycled consumer cardboard boxes built up from a piece of scrap plexiglass and then covered with a skin of paper which involves stacking layer after layer of newspaper using mod podge. This process eventually creates a sturdy enough surface to draw on. I wasn’t really sure where I was going with the piece, but I liked the idea of revisiting my previous efforts to use reused materials in my work. August was also the month that I came home to discover I would be a father.
This realization inspired the direction I would proceed with my piece and prompted the addition of a womb-like focal element in the center of the piece encapsulating the avatar of my unborn child. For the next 9 months I worked feverishly at finalizing the skin of the piece trying to get the color and gradient of the paper just right while beginning the most labor intensive part of the process, drawing the circles and the accompanying pointillism that create the overall sense of a biological/cellular space.
In my present cannon of creation, circles in a repetitive pattern serve to illustrate a sense of interconnectedness within the human ecology that we occupy throughout our physical experiences and perceptions. Cells dividing, stars born through atomic fusion, birth, rings of a tree trunk, the human eye, all glimpses of a universal truth. We come from one another and our existence and the fate of everything we know is interconnected.
The title, Poppy Seed, comes from the size of my son when I first saw him in an ultrasound photo. He was a small circle with a second pulsing circle contained within it. It was, and continues to be, one of the most amazing moments of clarity I have personally experienced.