06/15/2026
The enthusiasm for my work grows out of a shifting relationship to history: the history we were taught versus the new stories emerging from recent (and not-so-recent) discoveries across a variety of fields.
I find myself increasingly interested in what geologists, engineers and other researchers have been uncovering through solid science, persistent inquiry and a willingness to follow evidence where it leads.
One of the people who first sparked this interest for me was Dr. Robert Schoch. He put his reputation on the line by proposing a much earlier dating for the Great Sphinx based on geological evidence, and, more recently, his work exploring plasma phenomena and their possible relationship to the Younger Dryas period has continued to challenge conventional assumptions and encourage deeper investigation.
One aspect of Schoch’s work that I find particularly compelling is his exploration of the Rongorongo glyphs of Easter Island and their possible relationship to plasma phenomena. Whether that interpretation ultimately proves correct is almost secondary to the question it raises for me as an artist:
How do human beings translate experience into symbol?
How do observations become marks?
How do events become images?
How does knowledge become pattern?
Looking at comparisons between plasma forms, ancient petroglyphs and Rongorongo symbols, what interests me is the possibility that people were attempting to encode and transmit experience through visual language. The glyphs feel simultaneously observational, symbolic, geometric and alive.
As I continue developing the Chronoglyph series and other projects under Heretic Works, I find myself exploring similar territory…not attempting to recreate ancient symbols or recover lost knowledge, but investigating how geometry, proportion, resonance, pattern and repetition can become vehicles for meaning.
My contribution to this conversation is not through archaeology, geology, or historical scholarship. My contribution is through art, music and instruments.
Through symbols, stories, objects and tools.
I participate by making THINGS. And by exploring how ideas can be embodied in form…by creating toys and tools for self-expression and self-exploration…by asking what capacities are worth preserving, practicing and passing forward.
I don’t claim to know what the makers of Rongorongo intended, but I recognize the impulse: to observe, to record, to encode and, most importantly (to me), to transmit.
The people of the past, whoever they were and whatever they understood, left behind evidence of remarkable attention, ingenuity and intention.
I can’t reconstruct their civilization or prove all of their methods, but I can explore and make things that invite participation rather than passive consumption. For me, that is where the conversation becomes most interesting: not bringing the ancients back, but carrying forward capacities that remain as valuable today as they were thousands of years ago.
For those interested, the article that prompted some of these reflections:
https://www.robertschoch.com/plasma_iceage.html
15,000 to 11,000 years ago Earth experienced a series of climatic fluctuations. It had been extremely cold, with continental glaciers extending much further than they do today, but the climate started to warm. However, temperatures suddenly reverted back and there was a short cold spell, known as th...
