Tom Moody wrote about me yesterday-
"The slow cracking of the wood in the video is aesthetically satisfying, like the popping of bubble wrap, but ominous. I like the piece's encapsulation of horrific forces into almost-pure form. The shape seems to have been determined entirely by factors other than the artist's design: an imagined civic architect's ideal plans twisted and rended by catastrophe "in the field." It's straight-up entropy--once broken the structural integrity is gone. Compare Steve Parrino's bashed-in monochromes and Jason Middlebrook's post-apocalyptic Bilbao. Or Gehry if all the "implied torque" in his buildings actually tore them apart."
It was his "implied torque" bit that really had me smiling. It brought back memories of a brief critique I had with Amie McNeel where she referred to a particularly floppy (but tough looking) element within one of my sculptures as having an "implied tension". She wanted to not only see it, she wanted to feel it when she touched the thing, which she would invariably do. It meant a lot to me back then, and so much more now. The difference between something that was implied and something that could demonstrate and be it's implication has become central to how I think about and make art.
Anyways, it was really nice of Mr. Moody to take the time to find my work and give it some thought, so in liu of a comment over on his blog (which is impossible as comments are disabled), I would like to say thanks. Thanks