2023, 70” x 50” x 50”, Steel, Patina
Apart of the Tatiana & Brett Preston Collection
2022, 83” x 44” x 54”, Steel, Paint, Patina
Apart of the Tatiana & Brett Preston Collection
The CCCP Sputnik 10 (X) was the first probe to make contact with an unknown celestial entity. Launched in 1959 by the former Soviet Union, the probe was tasked with exploring the edges of our solar system. During its journey, Sputnik X made first contact with what has since been identified as the heavenly being: the Demiurge. The Demiurge is an inferior, violet creator deity thought to maintain the physical universe. The first interaction occurred at 4:23AM Baikonur, Russian time, on December 12th, 1963. The probe was able to capture more than four minutes of radio frequency from the entity and 76 seconds of audio from its internal microphone before its destruction. With this evidence, it is believed Sputnik X made first contact with an unknown celestial entity in deep space, prompting further efforts from both the CCCP and the USA.
2022, 67” x 27” x 14”, Steel, Patina, Paint
First probe launched from the United States government in search of celestial existence. Celestial Probe 01, known as CP01, was launched in a secret space race with the former Soviet Union to discover celestial entities during the Cold War. Despite not making contact with any unknown deities, the probe did promote the expansion of the project, paving the way for larger more advanced craft of exploration. CP-01 completed its observation mission in 1962 and was recovered outside of White Sands Missile Range in New Mexico.
2019, 72” x 32” x 22”, Birch, Walnut, Pine, Steel, Paint, Sealer.
2020, 48” x 48” x 48”, Steel
2019, 48” x 48” x48”, Steel
2019, 72” x 32” x 22”, Walnut, Birch, Maple, Steel, Paint, Sealer
Venus, 2018, Plywood, Steel, Ink, Acrylic Paint, Mylar, Safety Fencing, Flowtron Insect Killer, 72”H x 24”W x 24”D
This piece was exciting to make because unlike many of my other sculptures I did not have a clear end result in mind. The piece is titled Venus after the Roman deity (Aphrodite - Greek). Like Venus the deity this piece incorporates desire, and entrapment throw lust and love. Elements of the piece refer to this entrapment bluntly, but the ensnarement that most excited me referred to to pieces construction.
My method of creating is nearly always controlled through planing out every step and process. This degree of control is present within this piece but I also forced myself to create intuitively, while following guidelines and rules of course! When i first began to create this piece I wanted it to communicate my entanglement or hangup with following steps/directions. I absolutely love order when making art but I needed to push over into the unscripted, or unknown. Venus is the manifestation of this conversation.
2018, Ash wood, Purple/Gray Stain, Polyurethane, 24”H x 30”W x 15”D
Horizon is a contemporary mid-century modern nightstand. The piece made from ash wood was commissioned by Dina Edens: an amazing ceramic artist and good friend. After working with Dina we came up with the design and picked out the lumber. After a few weeks of squeezing in work time ‘poof’. I hope you enjoy your piece Dina it was a blast to make!
Beefcake, 2018, Maple, Poplar, Plywood, Foam, Upholstery Fabric, 14”H x 48”W x 24”D
This big ottoman was made to replace an even larger ottoman that was 48” x 48”, after changing up the design and shortening it down this heft piece ended up weighing even more than the original. This is where the name Beefcake comes from.
2017, Steel, Ink, Acrylic Paint, Enamel Paint, Douglas Fir, 56”H x 50”W x 46”D
Pang originally began as a completely different piece that I disassembled into sections that I later collaged into the form you see here. Like most of my work the length of each steel piece is proportionate to each other, and follows the golden ratio. The re-assembled steel form dictated the concept of this piece. Showing that confusion and chaos can be created from methodological beginnings. Similarly, I inserted fragmented panels of Douglas fir. The panels were an experimentation of me combining separate processes to create layered images that stress the viewer’s eye. This intentional straining of the eye to focus is mimicked by the steel form. The result is an electric confusion of steel and wood. With focal points that require the engagement of each viewer.
Scrub (Pretzel), 2017, Steel, 27”H x 27”W x 11”D
Scrub or Pretzel as its owner calls it is one of my tessellation pieces. This rusty burn iris-like piece is one of the smallest sculptures that I have made. Unlike many of my other steel sculpture this one is constructed of 3/16” rod. Even though this rod is just slightly thinner it has definitely hooked my interest.
For Scrub I wanted to make a simpler form that was calmer to look at but still hold the viewer’s interest. I then wanted to oppose this pseudo relaxation through the surface. I forced a rust on the steel and then hit it with the torch to give it that nice rich black.
Helios, 2018, Steel Rod, 96”H x 96”W x 32”D
This 8 foot iris is one of my largest pieces. The ring design draws the viewers eye in framing a decagon window. The simple structure was difficult to build. But the long lines create a multitude of shapes and patterns.
Helios is pertinently displayed in Cloud Croft, New Mexico in the Cumming’s Ranch Sculpture Garden.
Plains, 2016, Hickory, Maple Plywood, Square Tubing, 32”H x 72” W x 72”D
Made for my home office, I incorporated various levels of work surfaces. Allowing for both storage and a contemporary look. I dew inspiration from mid-century modern secretary desks and prairie style homes such as Frank Lloyd Wright’s Kaufmann House.
2018, 36” x 28” x 16”, Hickory, Steal, Sealer
2017, 56” x 50” x 46”, Steel, Enamel Paint, Flocking, Douglas Fir
Ambush unlike my other tessellating sculptures did not follow the maquette that I had originally built for it. This was due to spacing issues that occurred through the transferring of materials. As discouraged as I was I continued and allowed the form to evolve through the construction.
The piece is titled Ambush, because it echoes the seduction and danger of a trap. Encouraging the viewer to approach but hinting the possibility of harm or danger through maw-like form.
2017, 72” x 28” x 30”, Walnut, Maple, Paint, Sealer
2016, Steel, Enamel Paint, 29”H x 29”W x 22”D
Frivolity, was the second sculpture that I created in this tesillating fashion.
2016, 40” x 24” x 24”, Pine, Ink, Paint, Sealer
2017, 24” x 24” x 18”, Steel, Paint