2019
born or living
vertical stacks — 3d printed porcelain, glaze, red fox pelt, silk tie — 7ft. h x 3ft. w 6in. d
relational arrays — 3d printed porcelain, glaze, greenscreen paint. — 4ft. h x 7ft. w x 6in. d
A brief generational query into our evolving cultural grammar past down through family and media. Using various software and 3d ceramic printing, electronic images are transformed into earthen tablets for recording shared values. Explored as relational arrays or vertical stacks new insights are reveled.
2019
late capitol romantics
3d printed porcelain, glaze, steel, mixed media
A series of work that revisits Romanticism in 21 century late capitalistic political culture. Active mythology preferencing individualism an essential self-compelled to express personal beliefs and values plays out in our post-industrial information age. Using various software and 3d printers, historical figures and fragments from contemporary consumer culture are generated, stacked and fused, held together by weathered steel, a nostalgic attempt to breathe life into the promise of the industrial revolution.
2017
bodyplan
installation variable
3d printed porcelain, digital glass prints, glass, copper, steel
Bodyplan uses evolutionary biology and human taxonomy as actors for incremental change. Skeletal movement and cubic volume data is used to further understand the body in motion. Degrees of flexion are converted to radial energy automating the human gait. Mineral, botanical, biological and mechanical elements lose their hierarchy. New relationships form as segments of meaning assembled together to become silicate beings.
2017
moon dream
34in. h x 34in. w x 3in. d
3d printed porcelain
Using NASA’s topographic data of the moon, I bring the Moon to Earth for temporal interaction.
2017
american feral
4ft. h x 5ft. w x 13in. d
handbuilt, scanned, 3d printed porcelain, steel
American Feral is my response to the promise of manufacturing jobs returning to America as we replace people with machines. Pigs and politics are at play. Opposing materials are mixed with uncertainty. Implications for “made it in America” are explored. Privileged-porcelain and proletariat-steel are combined creating humorous and monstrous outcomes. New equilibriums are discovered.
2016
leaping fox
11in. x h x 31in. w x37in. d
porcelain, digital ceramic prints, neoprene, stainless steel
Culture/Nature relationships play out as image, animal and technology mash-up. Preservation and automation are integrated. Fox pelt images fused to porcelain flex and fold mimicking animal bodies and behavior.
2016
fighting bobcat
18in. x h x32in. w x36in. d
porcelain, digital ceramic prints, neoprene, stainless steel
Tessellated images of bobcat pelts and porcelain are packed together as a 2D surface. Fighting Bobcat is forced onto the 3rd dimension presenting survival behavior.
2015
wind travel 7-12mph
80in. h 18in. w 18in. d
neopixel LED video matrix, kiln-fused borosilicate glass tube, white glass, steel, video
Using Beaufort’s Wind Force Scale, live video of the gallery and viewers is optically mixed with recorded video of autumn leaves blowing 7-12mph. Video is used for sensation, interaction and navigation. Inspired by Inuit orienting practices, a sense of place and finding ones way is primarily understood by wind direction/speed felt by the body
2014
bodyscape
24in. h x 46in. w x 14in. d
digital glass prints, slumped glass, aluminum
Liquid/solid transformations with glass are used to imagine future landscape/body relationships.
2014
terraqueous
24in. h x 46in. w x 14in. d
digital glass prints, slumped glass, aluminum
Images of moving water are deeply slumped in glass creating landforms shaped by water.
2012
the interval between two days
installation variable
digital ceramic prints, stoneware, steel
Based on night investigations of embodiment and technology, perceptual fragments from the night landscape are captured for the purpose of recovery and reassembly. A 3d matrix of clay, image and space is assembled into an industrial landscape. Culture and nature relationships are perforated. Image and form collapse together creating a multi-sensory experience.
2012
slipsteam
installation variable
digital glass prints, glass, earthenware, mirror, steel
This installation suspends the viewer between physical material and simple technology. Floating over a boiling lava field, sky imagery is only available as reflected image and light. Optical and corporal sensibilities are engaged.
2012
detached from vision
15in. h x 50in. w x 1in. d
digital glass prints, kiln-formed glass
Reflections of sky are captured in mirrored Mylar though a glass curtain wall. From solid to liquid glass imagery opens with surface tension. Material phenomenon and image are inseparable extending vision beyond the organs of sight.
2011
scape
10in. h x 60in. w x 2in. d
digital ceramic prints, earthenware
A million dollar Philadelphia chair from the Chipstone collection is spun and photographed. This optical trace reveals skeletal origins.
2011
double faculty
8.5in. h x 13in. w x 9in. d
digital glass print, glass, steel, motor
Three identical images of my left hand are fused to glass and assembled into an 3D coordinate system. Canted and rotated images fluidly mix. Transformation occurs, my left hand becomes my right hand.
2010
action view
48in. h x 50in. w x 50in. d
digital glass prints, glass, porcelain, mirror, aluminum, electric motor, sonic sensors
Based on a pre-cinema praxinoscope, “ActionView” is a animation and static object experience. On approach an animation is playing. When engaged illusion becomes static. Move away and the animation resumes. The body in motion controls viewer choice as spectator or collaborator.
2010
urban redux
40in. h x 6ft. w x 7ft. d
digital glass prints, tempered glass, epoxy
Assembled from intersecting glass planes, this installation collapses time, space and place into a single psychological/physical event.
2010
3d chair
36in. h x 27in. w x 27in. d
digital glass print, float glass, epoxy
A 1940’s office chair is photographed while spinning. Digital images in sequence are fused to planes of glass. Multiple images superimpose to create a 3-D holographic experience.
2008
liquid gunlocke
installation variable
digital glass prints, porcelain, video, aluminum
Suspended, spun, and continuously photographed, images of a Gunlocke chair are captured as oozing reflections in mirrored Mylar. Fluid distortions transform, deform and replicate. Corporal and perceptual interaction is transitory. Technology is used to explore degrees of separation from physical experience.
2008
episodic recollection
installation variable
digital ceramic prints, porcelain, aluminum
Domestic reflections are captured in mirrored Mylar. Inversion and distortion slows recognition. Recollection, the way we store and retrieve past experience is accessed.
2006
looking and blindness
50in. h x 12in w x 7in. d
digital glass prints, slumped glass, LEDs, electricity, aluminum
Looking and blindness reveals our evolving relationship with technology and the space we create for the body in a predominantly visual culture. The eye image suspended in glass reverses our vision from receiver of external information to projector of interior experience.
2003
sensing wide
1ft. h x 5ft. w 4ft.d installation variable
digital ceramic prints, earthenware, aluminum, silicone, nylon
Vision and touch are removed from the body and embedded in a rational system of folding geometry. There is an effort to integrate our senses with basic structures and systems of physical matter.
2002
mechanical skin
6in. h x 32in. w 42in. d
digital ceramic prints, earthenware
Body realities are captured photographically and scaled up for evaluation. Bio- mechanical potentials are explored.
1999
cerebral twin
3.5ft. h x 7ft. w x 20in. d
grayscale porcelain, acrylic, silicone
From the Virtual Hospital digital brain images shifted from grid to triangular array. Assembled in grayscale porcelain, the brain becomes crystalline. Twining occurs. This inorganic process of self-replication suggests silicon-based life potential.
1999
human ground
2.5ft. h x 5ft. w x 5ft.d
colored porcelain, epoxy
Color porcelain prisms are assembled as crystalline solids becoming a ground for electronic images of the human head.
1998
visible human
7ft. h x 20ft. w x 7ft. d
porcelain, aluminum, epoxy, aluminum, internal lighting
A cross section of the human head from the Visible Human Project is the source for this installation. The electronic image is scaled, mapped and fused to 30,000 translucent porcelain cubes. Image, form, and light create a physical, material body landscape revealing our organs of sight.