MB: Your work historically has been more about choice and placement of specifically found objects; this seems less evident with your work over the past 2-3 years, how has the manipulating (bending and shaping) of wire as a medium opened you up?

WY: Recently I have been interested in representing my vision of a digital moment in space. Through different materials and ideas trying to capture space, a virtual snapshot of what that medium represents. Doing almost exclusively digital photography now has affected my ideas and has led me on another tangent while letting me investigate materials in new ways. I am now also working on a linear body of work, a connection more to drawing than formal sculpture that uses no objects at all. The work seems to change with my interests within different concerns and agendas.

MB: Are you consciously focusing on the material or wanting to make unique objects?

WY: The end result is always the most important, whether the piece is successful or not. I try to determine whether it fills the questions I’m trying to address or visual message I want to project. The materials are still the small pieces that add up to the whole.

	Inside the studio

MB: How do you determine what object you will make next? Is there a specific process that you would share with us?

WY: I make work in sequence and in a few different themes at the same time. That is to say my work is constantly changing and I’ll finish different bodies of work when I feel that I’ve worked out my concerns. Also with some of the work the series ends when I run out of a specific material. Part of the process of my work involves the gathering and collection, in this way the work always can have a self-referential element. I also make work when I travel and use items from that trip that have come to me in various ways. This makes the work fluid for me and always a surprise and brings interesting juxtapositions.

Yoshimoto concentrating on his artwork		Yoshimoto working in his studio