Friends & Family

A few years ago, I started doing stencil cuts of friends and family members, to be sprayed onto platters as wedding gifts. I don’t throw the dish, my partner Chris does that, I just supply the imagery. They were blurry at first, but keep getting better. The addition of a legitimate airbrush to our arsenal resulted in a far higher quality image, as did tweaking the shape of the rim. These are all at least 14-16″ in diameter, and we’ve also successfully applied the images to cremation urns. There’s a lot of material to work with here in terms of celebrating life events with a unique vessel.

Read More
Advertisements

Getting Conceptual: Part 3

The Curio Collection is a body of handmade sculptural art jewelry and objects, inspired by the historical ‘Cabinet of Curiosities’; private collections of natural objects as yet undefined by science, from the 14th-17th centuries. This was a time during which magic and science co-existed, prior to the great ‘enlightenment’, paving the way for technology as we know it today.

Read More

Getting Conceptual: Part 2

Using the ‘Cabinet of Curiosities’ as a conceptual point of departure, the focus of this work is to promote symbiosis between people and their surroundings, both social and environmental. To do this, I work by layering visual, tactile and functional patterns, which are a product of the intersection between form and purpose occurring everywhere in nature. To me, Nest and Tessellate represents the growth of a collection of 2d and 3d objects, the use of which encourages new patterns, toward the cultivation of mutually beneficial systems between humans and habitats.

Read More

Getting Conceptual: Part 1

‘Sculptural objects from patterns in nature’ – that’s the tagline of the hour. Everything I produce is supposed to relate back to that central concept, but somewhere in the material experimentation and production this year, it felt like that focus took a back seat to getting a volume of work out. My resolution for this coming year is to return to that concept and really explore in depth how far it can be pushed visually, and if it needs revising. One thing I know I’m bumping up against is that it appears to be too vague, and too common – everybody borrows from nature, so what’s unique about how I do it?

Read More

All Reactions Are Positive

I love a good critique, especially one that points out flaws in the work, giving clues about what to improve the next time around. When I say all reactions are positive, I mean that if your work provokes a reaction at all, any reaction, that’s a good thing. If you can get someone to share their reaction with you, even if they hate it, they are providing useful information. The worst thing that can happen is to garner no response at all, then you’ve really got a problem on your hands.

Read More

The Art of Distribution

While I’m exploring my own voice and materials in the studio, I’m also supplementing my income through freelancing and side jobs (no, I’m not above material security). What I’ve got going at the moment is a triumvirate of semi-regular employment between a retail art gallery, assembling work for a wholesaler of fine Scandinavian handicrafts, and an e-commerce business that works with artists to produce memorial products. Sounds like a lot of unrelated hoo-ha, right? Not to me!

Read More

Pattern Language

Some of the symbolism I want to direct attention to, is a pattern language that has been lost to time, but speaks to a higher intelligence in nature. The reading of pattern languages was essential to the survival of our ancestors. Every mark means something – we just don’t receive the message on all channels any longer because survival doesn’t require it. I am interested in how these patterns are still expressed in nature and in the constructed environment, even though hidden in plain sight.

Read More