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I start with carefully selected scrap metal. My process is not unlike assembling a 3-D crazy quilt, where each scrap is interesting in its own right, but is redefined by inclusion to become something else entirely.  My hope is to create a multi-dimensional drawing where the pockets of air are as interesting as the pieces of metal that create them. The whole drawing is an assemblage of many smaller ones.

I want to make a new art influenced by all that I love to look at from the symmetric Cycladic idols and Congo guardians to the dramatic sweeping gestures of Baroque Italian work. My goal is to jump off the plank of fabrication to the next level – story surrounded by layers of imagined context – that artist and viewer contribute equally. I work the skeletal to the surface and the surface to the skeletal. The pulse, history, future of each piece arrives after I finish.
I make my art on weekends, as I have a full time job in technology. But weekdays are all a preparation, a searching and sifting and refining. I will visit my yard with piles of pre-art before and after I commute. I arrange and re-arrange, make drawings on the driveway. Weekends I weld, cut and re-weld until something tells me it is done.