The Cup 2013
The iconic cup has pushed itself forward to be considered. It sits in a window as if awaiting a lost love, or marking the liminal space- going in, coming out- sitting in transition as if it does not hurt to be there. A beggar’s bowl of the Buddhist tradition, not whining and needy, but open and available for whatever may come. What is the narrative, what is the context? Sometimes it feels like a whole landscape with paths leading over and around. The torrent and beauty of life passing through me- time carrying on. I long for a cup of tea, a moment of peace, a place of surrender.
The iconic cup has pushed itself forward to be considered. It sits in a window as if awaiting a lost love, or marking the liminal space- going in, coming out- sitting in transition as if it does not hurt to be there. A beggar’s bowl of the Buddhist tradition, not whining and needy, but open and available for whatever may come. What is the narrative, what is the context? Sometimes it feels like a whole landscape with paths leading over and around. The torrent and beauty of life passing through me- time carrying on. I long for a cup of tea, a moment of peace, a place of surrender.
Backing
In 2012
In 2012 I was invited, along with roughly 12 other artists, to participate in the annual 8 Hour Projects at Allegheny College. The idea of the show is that artists have 8 hours to complete a project in the gallery space from start to finish. It is a very public event with students, faculty and community members coming and going, helping and conversing.
I asked Erie based Butoh dancer Doug Lodge to join me for the day in collaboration. He and I began the day dancing together using the wall as a third dance partner, and marking the wall with clay as we moved. At a certain point I moved out and became an observer- taking photos and finding poses that were interesting. After some discussion we transitioned into making the sculptural aspect of the piece. We built the armature together and then I built the clay sculpture as he continued to be available to model the pose. It was a fast paced and very focused day and started a whole new direction for me as an artist. The resulting piece was a life sized figure against a 10 foot length of wall.
In 2012 I was invited, along with roughly 12 other artists, to participate in the annual 8 Hour Projects at Allegheny College. The idea of the show is that artists have 8 hours to complete a project in the gallery space from start to finish. It is a very public event with students, faculty and community members coming and going, helping and conversing.
I asked Erie based Butoh dancer Doug Lodge to join me for the day in collaboration. He and I began the day dancing together using the wall as a third dance partner, and marking the wall with clay as we moved. At a certain point I moved out and became an observer- taking photos and finding poses that were interesting. After some discussion we transitioned into making the sculptural aspect of the piece. We built the armature together and then I built the clay sculpture as he continued to be available to model the pose. It was a fast paced and very focused day and started a whole new direction for me as an artist. The resulting piece was a life sized figure against a 10 foot length of wall.
Underneath
It All 2005
Beneath the skin of the earth there is a rich and powerful darkness. Inside the delicate skin of our bodies is a complex activity of cells, membranes, fluids and energy working together without illumination. Seeds sprout in the soft dark damp earth. Ideas, emotions, growth, memories find form in the undefined darkness of our interior.
As an artist I observe the world, the physical environment, social interactions, cultural stories through the senses of my body. In this way I absorb the world into my self. The information churns and as I work with my hands and eyes, creating and manipulating the relationships of line, form, mass, color, texture, volume and all of the references recombine into a new understanding. I learn about myself in the world through bringing the un-illuminated forms of my interior into an illuminated space outside of my skin. I work on the edge of my discomfort, looking for that which is at once familiar and disquieting. It is a process of discovery. It is a process of making clear that which my body is already learning.
The encaustic paintings are layers of colored wax built on a plywood backing. Light penetrates the layers of wax and creates a quality of luminous depth and atmosphere that veins, roots, lines of indeterminate reference move across. The bronze abstractions are created first in wax and cast through the lost wax process as single edition pieces.
Beneath the skin of the earth there is a rich and powerful darkness. Inside the delicate skin of our bodies is a complex activity of cells, membranes, fluids and energy working together without illumination. Seeds sprout in the soft dark damp earth. Ideas, emotions, growth, memories find form in the undefined darkness of our interior.
As an artist I observe the world, the physical environment, social interactions, cultural stories through the senses of my body. In this way I absorb the world into my self. The information churns and as I work with my hands and eyes, creating and manipulating the relationships of line, form, mass, color, texture, volume and all of the references recombine into a new understanding. I learn about myself in the world through bringing the un-illuminated forms of my interior into an illuminated space outside of my skin. I work on the edge of my discomfort, looking for that which is at once familiar and disquieting. It is a process of discovery. It is a process of making clear that which my body is already learning.
The encaustic paintings are layers of colored wax built on a plywood backing. Light penetrates the layers of wax and creates a quality of luminous depth and atmosphere that veins, roots, lines of indeterminate reference move across. The bronze abstractions are created first in wax and cast through the lost wax process as single edition pieces.
Portraits 2002-2014
Most of my portraits are from direct observation. It is fascinating to sit with a person and, while engaged in conversation, let my hands and eyes do the work. In this way I am able to develop a deeper understanding of who they are and what the underlying expressions are. I find I am much more able to capture a sense of vitality and spirit than I ever would be able to if I were looking only at photos. I work directly in terre cotta, which can be the final material or it is possible to cast the pieces in bronze.
Portrait commissions generally take 2-5 sessions of 2 hours each. If the finished piece is to be terre cotta the whole process will be complete in 2-3 months. If the piece is to be cast in bronze the whole process will take 5-6 months.
For further information and price quotes please contact me directly here.
Most of my portraits are from direct observation. It is fascinating to sit with a person and, while engaged in conversation, let my hands and eyes do the work. In this way I am able to develop a deeper understanding of who they are and what the underlying expressions are. I find I am much more able to capture a sense of vitality and spirit than I ever would be able to if I were looking only at photos. I work directly in terre cotta, which can be the final material or it is possible to cast the pieces in bronze.
Portrait commissions generally take 2-5 sessions of 2 hours each. If the finished piece is to be terre cotta the whole process will be complete in 2-3 months. If the piece is to be cast in bronze the whole process will take 5-6 months.
For further information and price quotes please contact me directly here.