These sculptures and paintings vary in size. I will be including larger images of each of these works below so you can see them more easily. I will also post images of newer work as I complete each art work. Currently, there is a steel tornado in progress as well as the kernel of an installation using plastic bags and discarded tree branches which will be interactive. I plan to investigate a traditional Korean art form called “Joomchi” later this summer when the sculpture studio I have been using will be closed.
The above collage of images gives you an idea of some of my thinking over the past few years. The painting of Cherry Blossoms and of the Rocky Mountains were both done in traditional, mostly transparent watercolors. The two pictured abstract paintings were done by mixing gesso with watercolor pigments and applying these mixtures onto a thin kind of Tyvek called “Tiga Wrap” (I think that is how it is spelled, anyway) using a printer’s brayer and fine tuning the paintings with judicious application of brush work and a palette knife. The painting of the door, stairs and flowers as well as the Cityscape painting were done with watercolor pigments mixed with gesso which were then applied with brushes and palette knives.
The sculptures shown in this collage were created by using a variety of techniques and materials. The abstract skull-like sculpture is a cast aluminum piece, accomplished by carving out a form in an art foam, setting the form in a bucket of casting sand and then by pouring in molten aluminum. The sculpture featuring a pensive mask which hides a smaller figure was created out of white stoneware clay that was bisque fired and then given surface treatment with silver acrylic paint mixed with graphite powder. The base is simply a length of solid pine that has been sanded and waxed to a semi-glossy sheen. The horse head was made of red stoneware clay, glazed with two glazes and fired. The abstract female figure is made of cardboard, cheesecloth and brown craft paper. The spiral structure was made using the Golden Section as the design concept for sizing each white stoneware clay slab. The inscribed spirals are able to be seen through the glaze because of the intrinsic nature of the glaze to “break” when it finds a change in depth.