I am a materialist. (The more I can understand material reality and the physical laws that govern life, the more that I can understand the constructs of my own reality.) Hopefully my viewers will have a similar experience in relating to my work as I have in making it and in viewing it myself.
My reality is built through a language of sight, sound and texture. Therefore, my artwork is composed through those senses. I hear what I see. I feel what I hear and I see what I feel and hear. When I begin to work on a series of artwork, I choose what materials I will use then I spend time playing with those materials until I can intuitively compose a work of art that looks, sounds and feels the way that I want it to. The composition and design are of utmost importance because they communicate the meaning of the work. The meaning of the work is purely in the experience of the piece. It is not a meaning that can be verbalized or one that can be immediately understood. It is one that must be seen.

My art is usually abstract in nature. That is because I do not want the viewer to be taken with a story or a meaning other than the visual and physical experience that is presented within the work. Occasionally however, when presenting public commissioned works of art my work has a subject matter other than the visual experience. This occurs in work that relates to scientific theories, nature or the human experience. Even when the work has other meanings, its strength remains in the materials used and in the composition of those materials.

I use many different mediums such as paint, metal, wood, paper, etc. I’m inspired by life and I am constantly aware of the dualities, paradoxes and relativities that regulate life, as we know it. I use these governing factors as compositional constraints in my work. For example, I usually pair organic forms or lines with architectural or geometric forms or lines. I also use complementary colors and dissonant colors in varying tones within a piece to create tension between deep space and flat space. Flat space and deep space are also encouraged and denied within one work by playing three-dimensional forms off of two-dimensional information and vise versa. I allow the materials that I use to speak about their own nature at times and then craft the materials to a high degree in other instances. Every decision that is made affects the next decision until the piece is finished. It often takes a year or more to become satisfied that a piece is complete. Since the work is grounded in its materials, every element that is seen is considered a part of the visual experience. Every nail, screw, line, drip, file mark, staple, wrinkle, crack in the wood etc. is a design element. I try to compose those elements in such a way that they seem to have spontaneously created themselves.

Sabre Sowell-Lovejoy, Ojo Sarco, NM 2007