My sculpture occupies a territory that might be called Temporal Specificity. It inherits the geometric rigor pursued by Judd and Andre, while embedding within the design itself the temporality and material behavior they left unaddressed.

Sharp edges retain the precision of industrial finish; form exists as repeatable geometry. Yet the surface registers two tenses — copper polished to a mirror reflects space and the present moment, while copper covered in patina records irreversible change through chemical reaction. A single form simultaneously inhabits distinct temporal states.

This is an evolution of Judd's "specific objects." It preserves the autonomy of form while compelling the material itself to articulate time. It extends into three dimensions the "production as system" demonstrated by Warhol's Factory, introducing the further unpredictability of chemical process — a sculptural language for the post-industrial era.

Every work is realized through commissions to third-party industrial fabricators. The methodology is one of impersonal systems — drawings and specifications — exploring the possibilities of production liberated from "the artist's hand." Even as the surface transforms, the geometry of form is maintained — industrial rigor and organic change coexist not in harmony but in tension.

Patina is not corrosion; it is a portrait of time experienced by the material. If a flawless mirror surface reflects "now," patina remembers "until now" — when these two tenses coexist within a single form, sculpture transcends the mere object and becomes a vessel for time itself.