This piece is an experimentation with positive and negative space and the transition between varying levels of that space. I made three separate pieces that all relate to each other. All are exactly the same size with all the same precise forms, but they each have a different aspect of positive and negate space that set them apart from one another. They also each have their own pattern of rough protruding claws that contrast the sleekness and exactness of the overall structure.
An exploration of color,
shape, and the versatility of material. All of the floor pieces were cut
into circles, while all of the wall pieces were cut into squares. Some of
the shapes recede into spaced while others are pushed forward. No two
pieces are the same color. Each piece contains one of three design types,
all employing the use of string.
This piece is about combining natural versus industrial material while also contrasting architectural versus organic shapes. I wanted to create a space that appears beautiful and welcoming, but as the viewer steps inside the space starts to feel dangerous. I used the wire to create sharp flowers and vines coming off the wooden arbor towards the space in the middle. I plan to continue to expand my garden of strange opposing elements to go along with this entrance.
Save The Bees 2015 Wood, Hot Glue, Wax, Pyrography 4'8" x 4'10" x 1'
This piece was inspired by not only the current dwindling state of the bee population, but sacred geometry and it's relationship to geometric patterns found in nature. The honeycomb structure built by bees contain their larvae, honey, and pollen and are perfectly formed every time in ideal symmetrical shapes. The dome itself is missing parts of it's structure and spilling out onto the floor to emphasize the fall of the honey bee. The wax is dripped throughout the structure randomly to stress chaos and worry.
This piece was inspired by one of my favorite albums, Illmatic by Nas. I wanted to commemorate the album through a decorative frame, which featured song lyrics scrawled in graffiti. The aluminum medium I chose required hours of trial and error, which I had not anticipated. That being said, I gained a lot of experience with this project and I am very pleased with the final result.
This is the first part of a much larger project that I am working on. This is the framework of a metal tree that has a seat built into the trunk for viewers to sit in if they so choose. I use nature as my inspiration for many things so I wanted to incorporate nature into this project. I wanted to start a conversation about nature vs man-made structure as well as play on inorganic vs organic by making such a natural, organic form out of inorganic material and build a seat into it to give it another functionality to it and even further that emphasis of man-made things catering to our materialistic world.
Stay tuned for the second part of this project that will incorporate this tree-seat into a much larger discussion on organic vs inorganic and man-made vs nature!
Our inspiration for the piece began with a possum and ended
with a confessional. Commenting on confusion in religion, our piece investigated
spaces of worship, particularly focusing on connotations surrounding certain
materials used in these spaces and the intentions and consequences of iconography.
The piece was an installation that included both sculpture and painting and fused
together both of our styles and differing questions about religion.
Our inspiration for the piece began with a possum and ended with a confessional. Commenting on confusion in religion, our piece investigated spaces of worship, particularly focusing on connotations surrounding certain materials used in these spaces and the intentions and consequences of iconography. The piece was an installation that included both sculpture and painting and fused together both of our styles and differing questions about religion.
Inspired by a multitude of structures made as a child out of recycled cardboard boxes, I recently became fascinated with commercial and consumer boxes that look similar in shape to houses and structures from my memory and daily life. The panels of blue background are intended to give the feeling of looking out the window of a moving vehicle and to lend a panoramic view to the piece.
Wax figure with wax sprues for lost wax casting. This piece will be invested in plaster and sand, melted out of the casting, and the molten aluminum will be poured into the empty cavity left by the wax. This sculpture will eventually be hung from the ceiling with cotton pouring out of the head, the allusion of an angel falling from the clouds.
This piece's beginnings lie in experimentation and a love for shapes. I began with the concept of paper lanterns, and ended up with this bubbly abstraction of the form of a Japanese paper lantern. I duplicated the shape and replicated the "light" of a paper lantern by polishing each lantern (maid of stainless steel) to a bright finish. The next issue was making these thin, bent lanterns stand; this is where the concept of "little people making big things" was born. The mice characters represent the little guy, working hard as a group to make a change for the greater good. They are, again, abstractions of their original forms to fit in with the playful, child-like aesthetic of the overall piece.
My work is about TIME. Memory is the most significant thing to people. When we first time come to this world then we realize that we will eventually leave this world. However, the process of life is more meaningful than the result of life. When I thought about my time. Each wood strip expresses each process in my life time. And the white paper that represents "the window" shows my memory during the process of my TIME.
It likes a waterdrop (Me) falls into a shining river (Time), creating ripples and corrugates.
We've all seen framed pictures on walls. Usually the image is flat, and placed behind the frame. The rules of framing a picture have been so ingrained in our minds that we see the frame as the outer border, which must never be crossed. This piece tries to deconstruct the idea of the traditional framed image and push past the limits of the frame, by having the subject spring out in undulating geometric forms.