Charlotte Street Foundation identifies the needs and fuels the evolution of an ever-changing multidisciplinary arts ecosystem, acting as its primary provocateur. We cultivate the contemporary, the exceptional, and the unexpected in the practice of artists working in and engaging with the Kansas City Art Community
“My sculptural work is currently concerned with elements of the Light & Space movement combined with the materiality of Arte Povera. It uses inexpensive lighting effects and common materials to create mystical and otherworldly environments. I use a variety of elements that are combined in a variety of ways to create environments for the viewer. In my own ways, I am trying to expression in visual language what Aldous Huxley called the “antipodes of the mind,” which in essence is the realm opposite of our waking life that contains universal truths. In his book “Heaven and Hell”, Huxley talks about how these inner visions transmute to the outside world:
In vision, men perceive a profusion of what Ezekial calls “stones of fire,” of what Weir Mitchell describes as ‘transparent fruit.’ These things are self-luminous, exhibit a preternatural brilliance of color and possess a preternatural significance. The material objects which most nearly resemble these sources of visionary illumination are gem stones. To acquire such a stone is to acquire something whose preciousness is guaranteed by the fact that it exists in the Other World.
That description of “stones of fire,” combined with research done with sensory deprivation float tanks and recollection of past visionary experiences, has caused me to seek creating environments that are darkened with only highlights of these lighted elements. The materials I use for making these elements creates an intellectual tension for the viewer in that these beautiful and scintillating visions are done with inexpensive and everyday items: found wood, architectural glass, plastic wrap, office-variety acrylic diffusors, and clamp lights with party bulbs. This DIY vision does owe in part to Folk Art Modalities, in that many practitioners sought to create spiritual experience through the use of readily available or repurposed/ recycled materials. It also expresses an economic reality that many artists face and attempts to reconcile the economic gap between thought and expression.”