One of three in a series of castings in different media. This version addresses the downfall of self-evaluation performed in isolation. A mirror is inset into the waist of the figure, where the figure’s gaze is set, seeing only his own reflection. The figure is captured in stride and references the movement inherent to life, while also giving pause to a moment of self-contemplation and awareness.
“Offering” is the second sculpture in a series that has its roots in my graduate school days when I was first turned on to the idea of “activated space”… negative space, but amped up. I had begun to study the artwork of Eric Ore, Eduardo Chillida, Martin Puryear, Antony Gormley, Richard Deacon and others who had opened my mind to the shape-shifting possibilities of the anything but negative, negative space. Even renown architect I. M. Pei was in on the paradigm shift. You really need to see the entrance to the Louvre in Paris. Pei’s design will blow you away.
The sculpture “Madonna” takes its name as a classical reference to the virgin Mary and the contemporary context of an idealized virtuous and beautiful woman. The glass for this sculpture was hand cut and shaped with very high heat in a kiln over a form that was made by taking a mold of my wife the day before she gave birth to our daughter. This work, like that of “Three Graces”, came from the life-cast mold of my wife’s physique. The stainless steel support for the glass is a plasma-cut silhouette of my daughter taken from an ultrasound during the pregnancy. This work was deeply personal and every bit as satisfying.
Life happens and God is good. I took a “life mold” of my wife the day before she gave birth to our daughter. She was very pregnant and a great sport. I laid cold plaster and gauze across her torso to capture her radiant beauty.
Pinch: A ring of cast and fabricated sterling silver & a watermelon tourmaline. The clothes pin is functional.
Opera House: A ring of forged sterling silver & a trillion cut yellow tourmaline.