To imagine into and beyond that which is presented as fact, is an innate and magical perception approach in life that enables us to find truth and divine orchestration in scenarios that may initially challenge our emotions and belief systems. This way of thinking is characteristically amplified within the multitude of creative minds who express themselves professionally, as artists, comedians, designers, writers, musicians, scientists, and so on. However, clearly, since this quality is truly innate with our human sentience; this group of individuals simply includes everyone who is sensitively perceiving and productively processing reality as a fluid dimension, beyond its personal and collective limitations.

In working with gathered and found materials since 1998, I have focused this perception approach toward the materiality of objects and items existing in our world; as I imagine into and beyond their prescribed definitions. Guided by the stimulus of their tangible and formal properties, I cultivate the gathered and found materials in my work as a conduit to my inner vision. As with the alchemic principle of “solve et coagula” (dissolve and coagulate), which I interpret to mean that elements must be disassembled before rebuilding; I relate the transformation of the physical materials in my work to this process, as I melt these materials with my imagination and imbue them with high intention.

Ultimately with my work in sculpture, I am interested in creating a resonant dimensional presence through static materials. The craftsmanship in the work becomes the record of engagement, indicating the energy quality converged through the process of making. I am fascinated with the phenomenon fundamental to fine art, which is that the making of a work is simultaneously the singular recording of that work. Within this process there exists the opportunity to permanently charge an artwork with energetic density that deeply pronounces its physical multidimensionality. Thus amplifying its resonance transmission and opening up its potential as a spiritual object through interaction with the consciousness of others upon viewing. In this way, the making of my work quietly integrates both conceptual and ritual performative aspects, embedded in the completed artwork.

In unison with this perspective, I am reverent to this process: working intuitively with my mind and hands, obtaining materials through serendipitous means, working primarily in silence, and almost entirely with hand tools and techniques; substantiating the presence of intention in time as the mind conceives reality.

Josh Nusbaum, 2024.