Ceramic, recycled wood, inner tube, casters
16” x 14” x 8”
Ceramic, recycled wood, wire
14” x 12” x 9”
Ceramic, vinyl, thread, fabric
10” x 13” x 5”
Ceramic, wood
14” x 27” x 17”
Ceramic, casters
8” x 10” x 10”
Mouthful has a humorous twist with its candy-like appearance and curious similarity to a head. With this piece, I was interested in playing with color and texture, while referencing my drawings based on the hidden landscape of the body.
This sculpture was inspired by illustrations of the sympathetic nervous system found in Cunnigham’s 1902 Textbook of Anatomy.
Ceramic, glycerin, vinyl, wood, metal
20” x 32” x 6”
Ceramic, glycerin, vinyl, thread, metal
9” x 10” x 9”
This sculpture celebrates the flexibility, play and surprise that are foundational to my process.
Wood, glycerin, vinyl, thread,
36” x 20” x 7”
Glycerin soap, ceramic, vinyl, thread, metal
36” x 18” x 8”
The driving force in this body of work has been to preserve order at the edge of chaos. Utilizing unwanted furniture that I scavenge from the streets, I re-create forms into structural bones that interact with bags of liquid under pressure.
The casting process mirrors a longing to preserve time in the face of erosion of the body as well as the rapid transformation and pressures of social order in our culture.
Recycled furniture, glycerin soap, vinyl, thread
21" x 15" x 16"
Recycled furniture, glycerin soap, vinyl, thread
21” x 20” x 9”
Recycled furniture, glycerin soap, vinyl, thread, metal welding clamp
16" x 19" x 8"
3’ x 4’ x 5’
Glycerin soap, recycled crutches, vinyl, thread, metal
19” x 22” x 11”
Glycerin soap, recycled furniture, vinyl, thread
Recycled furniture, glycerin soap, vinyl, thread
16" x 18" x 3"
29" x 23" x 8"
Glycerin soap, recycled furniture, vinyl, thread
Recycled furniture, glycerin soap, vinyl, thread
19” x 24” x 10”
Metal vent, glycerin soap
20" x 12" x 18"
15" x 11" x 13"
Metal vent, glycerin soap, recycled vent
Installation view of my MFA exhibition.
This work investigates the intersection of entropy and regeneration. Glycerin soap is cast onto a framework of reconstructed found furniture, invading the body of the wood. This precarious yet stable balance between mediums points to the way in which we hold fast to certainty amid life’s unpredictability.
Wood, glycerin soap
18” x 23” x 19”
This piece was intentionally hug at shoulder height to invite the audience to get inside and experience how sound is naturally altered inside the structure. Once someone stands inside the piece, the viewers on the outside have an added transformation of seeing what appears to be a humorous image of someone inside a giant mouth mounted on the wall.
Recycled ironing boards, glycerin soap
5’ x 2’ x 5’
Recycled wooden cane, glycerin soap
30” x 20” x 6”
32” x 17” x 5”
Recycled furniture, glycerin soap
This body of work is an experiment with material boundaries, blurring the original intent of the soap, I wrestle with gravity and mess. Much like living organisms that are constantly adapting their inner properties to fit into the changing environment, adaptation becomes key as I cast hot glycerin into the sewn vinyl bags. This process requires a quick response to the swollen burning forms that produce unlikely contortions in response to the wooden substrates.
Recycled furniture, glycerin soap, vinyl, thread
Sizes Vary
Recycled furniture, glycerin soap, vinyl, thread
For years I have collected the disposable clothing and exam paper at every visit with a doctor. The ephemeral paper holds the imprint of my body and the brief moments dealing with the medical industry. I am still collecting and have plans to create a large installation marking time and the fleeting nature of the body.
Recycled exam table paper, Red thread, branches
47” x 32” x 66”
Installation view of Post Hospital Series at San Francisco State University Fine Arts Gallery.
During a visit to Angel Island I found a beautiful abandoned structure that was once Post Hospital. The interior walls felt like a strong magnet, calling me to witness their entropy. I later discovered the unknown darkness of these ruins. In 1910, prisoners were forced to build the hospital. The irony that people who have fallen at some point in their lives, were then forced to build a house of healing is a strange twist of creation from loss. As I reflected on my own life, I saw a similar irony of how the events that seem to be failures can turn out to be a portal to a way of being that was previously unimaginable. Consequently, my focus has been less about the falling and more about the act of getting up and making something new with the brokenness and unexpected hurdles of each day.
25” x 36” x 4”
Archival Inkjet Print, magnets
This piece was created at Angel Island by Todd Larson and myself. We were doing research and taking photos at Post Hospital when Todd noticed a child running through the ruins. If you look closely you will see the child in the hallway, adding a ghostly quality to the scene. I later added the surface treatment creating a secondary skin to the piece.
The Dream Cloud was a site specific participatory installation commissioned by the Arizona Museum for Youth. The public was invited to write or draw their dreams on the inside walls of the cloud and participate in the creation of this piece.
For the SKY Exhibition at Bedford Gallery, I made a smaller version of the original Dream Cloud. (See Below)
Installation View at The I.D.E.A. Museum in Mesa, Arizona
SKY, A National Juried Exhibition at Bedford Gallery
Exhibition Statement
The Bedford Gallery welcomes a new theme for its annual juried exhibition, Sky. Bedford Curator Carrie Lederer explains, “From ancient mythology to surreal skyscapes, artists and philosophers have long meditated on the theme of sky. This exhibition asks artists to explore how the sky, both atmospheric and conceptual, can be represented in a diverse reach of media.” Sky includes over 80 artists from across the United States.
Sky was juried by DeWitt Cheng, a San Francisco-based writer and critic, and Elizabeth Ferrer, Director of Contemporary Art, BRIC, Brooklyn, NY.
The Truth Scope was a 12 ft. tall interactive sculpture made of steel, paper and resin. I created it with the intent to have the public interact with and complete the sculpture. Viewers were invited to enter the piece by standing inside the cone. Once inside they are surrounded by a giant steel bird cage. White chalk was provided for people to write about the things that they would like to let go of. Within hours, the cage was filled with an outpouring of intimate confessions.
This installation was part of "Transits and Returns", curated by Joan Weiss at Mercury 20 Gallery. The public was invited to write their reflections about "Home" on the inside of the houses, shifting the role from passive observers to co-creators.
This archive is a sample of my work spanning form 2008-2000
Ceramic, sugar, cast iron
17” x 14” x 14”
Ceramic, sugar, cast iron
17” x 14” x 14”
Ceramic, bronze & wood
Ceramic, wood, wire
Bronze
Ceramic, bronze, wire
Ceramic, elm wood, resin,
Ceramic, bronze
Ceramic, bronze, wood
51” x 21” x 12”
Ceramic, bronze, wood
51” x 21” x 12”
Bronze, ceramic
42 x 26 x 24
Ceramic, bronze
47” x 30” x 30”