WHITE MALE is a series of ceramic figures embodying my sense of my own white maleness and that of my son.

The men are spiritual self portraits, attempts to conveying my own awareness of the imposition of my white maleness on the world - they’re awkward, bloated, looming, they take up too much space, breath too much air. They’re threatening but uncertain, overbearing yet apologetic, they’re both solemn and laughable, self-important and retiring, grounded and adrift. 

The boys embody my love of and hope for my son, but also my anxiety on his behalf, my recognition of how his privileged position as a white male is shaping him and how it will continue to do so in ways beyond my control.

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Family. Ceramic. 3 - 64 inches in height. 2018.

Family. Ceramic. 3 - 64 inches in height. 2018.

Test Subjects (Before & After). Ceramic. 8 and 10 inches in height. 2018.

Test Subjects (Before & After). Ceramic. 8 and 10 inches in height. 2018.

Flower Boys. Ceramic. 21 and 22 inches in height. 2018.

Flower Boys. Ceramic. 21 and 22 inches in height. 2018.

Endearments builds on the ambiguity of WHITE MALE. These enigmatic creatures exist in defiance of categorical and tonal certainties. What are they? What do they want? What will they do? Although ostensibly lighthearted, even frivolous, they embody an uncertainty that is both compelling and unsettling.

Sweetie. Ceramic. 64 x 30 x 36 in. 2019.

Sweetie. Ceramic. 64 x 30 x 36 in. 2019.

Honey (in process). Ceramic. 64 in. 2020.

Honey (in process). Ceramic. 64 in. 2020.

Digi-Classical is a series of digitally sculpted and fabricated sculptures combining dense masses of merged models with medieval and neoclassical figures and motifs. These sculptures identify the nebulous, physically inaccessible, yet omnipresent spaces of digital experience with concepts of the metaphysical in the European Christian tradition. Chaotic accretions of digital objects, some familiar, some strange, become the landscape of that experience, a cultural cacophony at once bewildering in its complexity and comforting in its familiarity.

For additional ongoing digital projects, see CNC Drawings & Lightscapes.

 Fierce, Two-Formed, Filling the Labyrinth of Daedalus. 3D printed & Assembled ABS & Sandstone. 16 x 10 x 5 in. 2014.

 Fierce, Two-Formed, Filling the Labyrinth of Daedalus. 3D printed & Assembled ABS & Sandstone. 16 x 10 x 5 in. 2014.

Our Digital Memory. 3D Printed & Assembled PLA. 29 x 33 x 6 in. 2017.

Our Digital Memory. 3D Printed & Assembled PLA. 29 x 33 x 6 in. 2017.

Bold Star (Gold). 3D printed PLA. 12.5 x 12.5 x 4.75 in. 2019.

Bold Star (Gold). 3D printed PLA. 12.5 x 12.5 x 4.75 in. 2019.

Bold Star (Gold) Detail.

Bold Star (Gold) Detail.

The Assumption. Cast Hydrocal from CNC routed prototype. 18 x 10 in. 2017.

The Assumption. Cast Hydrocal from CNC routed prototype. 18 x 10 in. 2017.

St. George. Cast Hydrocal from CNC routed prototype. 18 x 10 in. 2017.

St. George. Cast Hydrocal from CNC routed prototype. 18 x 10 in. 2017.

In The Round is a YouTube channel on the formal principles and technical methods of traditional figure sculpting in clay. I started producing these videos to supplement the hybrid version of my figure sculpting class. They focus on foundational basics, using clear, straightforward methods to lay out and articulate anatomical form. Although there are countless ways to render the figure, this systematic approach will provides a basic understanding of how the figure “works,” and a basis from which to pursue more advanced and more idiosyncratic techniques and stylizations.

Although not strictly part of my practice, producing these instructional videos has consumed the majority of my creative energy for the past half year, so I’ve chosen to mention them here. Video series include:

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