Existence is vulgar. Our evolved need for order refuses to allow us to accept this vulgarity, so we impose systems of structures to hide it. For civilization, these systemic structures, whether familial, religious, philosophical, economic, or governmental, are sacrosanct.

I contend that, rather than suppressing vulgarity, these systemic structures merely channel and facilitate hierarchies of it, excusing even its most savage expressions. Rather than allowing us all to be barbarians, they allow a select few to rampage freely, and consign the remainder of vulgarity’s children to ostracism, excommunication, expulsion, poverty or incarceration.

Threats to these structures are perceived socially as toxins. Vulgarity always rises, purifies itself and obliterates the toxins. While these systemic structures are not regionally or temporally homogeneous, their success is predicated upon the assent even of those they victimize.

For me art’s impetus is existence’s innate vulgarity. Absent any right, need or purpose, art objects insinuate themselves into existence, into the social fabric. As they do so they are, without exception, filtered through the context of these systemic structures, whether in conformity with them or in reaction against them.

I'm interested in working with vulgarity in its purest possible form. Its many dimensions – humor, hostility, obtuseness, dissonance and so forth – opportune broad investigation. I employ intuitive responses to the innate properties of raucous matter -- resin plastics and expanding urethanes -- to guide the development of objects that resonate this familiar, affirming, exhilarating vulgarity.