I have been making earth art, or 
  earthworks for some time, and have 
  admired the dedicated work of the 
  beaver, wich I have adopted as my 
  totem animal. The photo at the top 
  is a work I made near a beaverpond, 
  a Totem to honor the beaver.

Colour, as a visual, sensual and psychological element of existence, has always been one of extreme import to and affect upon me. The ubiquitous autumnal palette surrounding me one certain October, penetrated both myself and my work significantly. Colour can engender such POTENT psychological significance – either seducing and affecting one with a given intensity, or with the immense subtlety at work BEHIND conscious surface – it can elicit a very CHARGED atmosphere within which a work is either created and/or viewed. I am trying to utilize these LOADED elements in my recent work to increase the dimensions upon which a piece may function and is, therefore, experienced. I am not using colour as a “colourist,” but in-stead as a contributory element within the work, as a SIGNIFIER - of mood, atmospheres of various emotional climates. These works are attempts to create visual ambiances conducive to contemplation.  My use of colour is not simply a matter of taste, or purely a pursuit of (my idea/ideal) of beauty, instead: colour is utilized as a tool: a condition of visual/sensual language with which to access a responsive element within both the maker and the “needer”/viewer, one outside (the hackneyed) means of discursive articulation. Verbal articulation, generally, relies on a “logical/reason” oriented sense of "order." This so-called "order," being the synthetic [wo/man made] construct that it is, often DENIES alogical affect and FORCE. These works are not about form, or any other surface issue, they are about CONTENT.