"SHAMAN"  6.15.16

Paint on found beach wood  12"x 24"

This piece is an effort to capture the spirit of the Great Lakes

"WORK BITCH"  6.15.16

Paint and carving on plywood  24"x 48"

This carved relief piece with nails, hardware and text is based on Britney Spears song by the same name. I am exploring traditional workplace culture.

Detail from "REBELLION"

"CAVEMAN 2"  6.15.16

Paint and carving on plywood  24"x 48"

This carved relief piece is process based work used to create mythologies from physical responses to the material. I imagined being an early caveman needing to create meaning.


"PRAY 1"  6.15.16

Paint and carving on plywood  24"x 48"

This carved relief piece with nails, antique sewing needle and hardware attempts to explore the hard balance of spirituality.

WOOD


Detail from

"Confluence"

"REBELLION"  6.15.16

Paint and carving on plywood  24" x 48"

This carved relief work explores the relationship between rebellion and conformity. Rebellious ideas and actions always congregate and are no longer rebellious. 

"PRAY 2"  6.15.16

Paint and carving on plywood  12"x 12"

This carved relief piece with nail and hardware continues to explore the hard balance of spirituality.

"CONFLUENCE"  6.15.16

Paint, paint rubbing and carving on plywood  24"x 48"

This piece was inspired by the energetic confluence of streets in lower Manhattan that attracted some of America's most important artists.

"CAVEMAN 1"  6.15.16

Paint and carving on plywood  36' x 48"

This carved relief piece is process based work used to create mythologies from landscape forms. I imagined being an early caveman needing to create meaning.

"PLOT"  6.15.16

Paint and carving on plywood 24"x 48"


"NEW YORK"  6.15.16

Paint and carving on plywood  24" x 48"

This carved relief work is based on the interesection of streets and buildings in Manhattan where the convergence of energy propelled some of America's greatest artists.

Much of the work I do in wood supports ideas I am exploring surrounding diffusion and extension of modern existence afforded by digital communications.  This work is made to be touched. Individual brushstrokes can be read both as individual sculptural elements, and as part of larger pictorial or conceptual whole. Carved subtractive marks in wood are visceral indicators of a physical presence that is in fact consuming physical material. The full effect of these works cannot be digitally duplicated.