I'm a speed chaser, I chase movement on and off the water. My focus has been how to make an  artwork "go," and how to make a sailboat "go," and how fast? Both are measured and spoken about in terms of their impact on trajectory. Both can be made to go too fast or too slow with unsatisfactory results. And both pursuits began with a litany of questions and learning new languages that continue forming.

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        The microcosm art works are complete when they yield personal experience. The viewer makes the choice at what speed, angle and distance they use in their approach affecting and informing their own experience; just as we do on the race course.

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        This work is a confluence of art historical precedents: The California Light and Space Movement, The Kinetic Movement, Op Art and the Japanese Gutai movement. Perception, movement, optical illusion and the interactive role of audience participation join forces in making an ever-changing ephemeral experience.

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      There are a number of artist teams currently making experiential art. Most of the work relies on integrated technology, mine does not, nor does it rely upon electricity once produced.

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Playful exploration is a necessity for making motion out of solid objects and stationary imagery. The art work traverses the chasm from passive viewer to active viewer and creator collaborator. Complete upon participation the viewers action opens a portal for discussion about how we move in space and what we do- can, if not change our perception, illuminate it. 

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