Bio/Statement


Although, anonymity from the Greek word anonymia, meaning "without a name" would be preferred. Alas!


Ehule Stille is a moniker meaning weaver of silence. This moniker was started as a means to remove the direct identity of the artist away from the work but still act as a placeholder in a stream of many lifetimes woven together.


From an early age, I've used visual art as a means for metaphysical exploration and found art to be a path suffused with magic. Thematically, I am interested in how individual experience ontologically shapes the world; asking myself constantly what is real? What are thoughts? How does my experience influence reality? Why do people choose to live and carry on every day? And what is the definitive difference if any between imagined and physical experience? Poised with those questions, I've taken the modality of interacting with matter in a way that the tools of the medium become an extension of my body.

For most of my life I've been working with metal and carving steel is an intimate way for me to interact with the world through fire and shift metal in a manner that can bring about a meditative state. Every breath, movement, and thought of the body is captured in the torch marks and those marks are a record of that experience frozen into the texture. From there, the art-making process becomes an immersive catharsis of grinding and polishing those textures into finished pieces. Thus, a furthering of introspection that imbues the pieces more concretely with my thoughts, feelings, and energy. These husks of experiences act as batteries imbued with intention that create a pantheon of other selves to contemplate the nature of reality, beingness and the temporality of self and/or other.

In regards to influential artists, I am predominately influenced by music and film. From the music of Time Hecker, Phurba, Dead Can Dance to the films of The Fountain, Wings of Desire and Altered States but the list of them is endless. The writings of Jaron Lanier, Jeffrey J. Kripal, Arthur C. Clark, Charles Laughlin, Longchenpa and Chogyal Namkhai Norbu. Artistically, Gustave Doré, Rodin and Ursula Von Rydingsvard have greatly influenced the mood and timbre of my work.

In 2011, my practice merged into a collaboration (R+K Studios, LLC) and for a few years sculptures came into being from our combined intention. This collaboration has been a powerful experience in that our identities became a new reflection in the work that has blended into my personal art as the identity of the maker is never singular. Artists are always collaborating directly or indirectly suffusing our egos into the breathe of shared experience.

In 2014, my studio partner and I took a sabbatical from making sculpture to breathe in new life, new creativity. I immersed myself  in books and more concretly in Tibetan Buddhist meditation practices and the study of Dzogchen. Long before taking this break; birth, old age, sickness, and death were long-standing themes in my life due to multiple arduous childhood experiences including the untimely death of my mother. At that time, visual art became my new parent, mentor, and lens for understanding the world. In times of trauma, art-making was like turning a piece of coal into a diamond. Those energies had to be compressed until they formed a solid piece of art.

After years of threshing out these experiences and seeking solace through art-making; it was time to investigate those experiences through formal Buddhist meditation as well as confront themes of mortality by undertaking funereal work through cremation or meeting the needs of the departed. I needed to find more meaning, reason, and understanding about the nature of life and take a break from the proliferation of object-making. My mind, awareness, and breathing became my medium instead of metal.

Now it has come full circle and art-making is a presence back in my life. In conjunction with these esoteric practices and experiences of mortality, I've become interested in the interface between physical and non-physical mediums for art-making like sound using ambisonics, projection mapping, augmented reality and biofeedback. These are fascinating mediums to explore the great metaphysical questions of consciousness. It also gives the ability to take an imagined reality and turn it into a memory as a form likened to a interactive lucid dream. I am interested in pursuing this virtual and physical interface for making work that unifies them as seamlessly as possible. It posits a new kind of vulnerability and an integration of the spirit with technology.