This large freestanding piece references ten years of near-daily practice and competition in the discipline of target archery. Although the form emerged intuitively, it lent unanticipated gradation to what I experienced in this career of repetitive motion. It was the practice of a ritual so familiar that it was at once precious, humorous, and expendable.


With audacity similar to an arrow cutting effortlessly through 70 meters of vacant wind only to land within a highly concentrated region, the piece suggests a relationship to space which extends beyond the object in the room. Together with the viewer, string and forced perspective create an illusion of distant space and ideas. A quiet anchor calls our sight to race along three amber lines as they converge and diverge over a twenty-five foot expanse. At the anchor, these strings connect delicately at three steel hooks embedded deeply within a mass of concrete, sheltered by a hovering steel wedge. In the other direction, the strings converge and double back at a poised spike, merging from the multiple into the singular before reconvening with the rest of the sculpture at a carefully tensioned artifice.


There is a feeling of the body interfacing with a well-known object and the ground beneath. A transmission of tension spreads directionally through various connections. Translating from the body to equipment to intention to environment, the act undergoes physical and mental shifts. Despite thousands of hours of ritual practice, the well-articulated transitions are impressionable.


At times, swiftly, the ritual fades.


I hope viewers will empathize with these relationships in a personal way, perhaps even as I have felt them — a tautness processing through our minds and into our bodies, into invented assemblies, and again releasing as altered thoughts. Over the course of my life, I have grown very interested in these quiet ideas that lay abstractedly… disruptive non sequiturs, wordless in their ability hold us. They are much needed sustenance.


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