BIO

Laurie Lea was born in Atlanta, Georgia and lived and worked there for the first part of her career. She belonged to the Fay Gold Gallery and exhibited nationally and internationally. ("American Drawings, 1976", Smithsonian Arts Institute, Portsmouth, Virginia, catalogue; and “USA” Portrait of the South”, Palazzo Venezia, Rome, Italy, catalogue). She won numerous awards, such as the 1972 Purchase Award for the Georgia Arts Council. For several years she served on the Fulton County Arts Council in Atlanta, Georgia, initiating and helping create the Per Cent for the Arts Ordinance for Atlanta, Georgia. During these years she also co-created and helped oversee the Georgia Artists International Fund, which sponsored Artists' Travel Grants and organized international exhibitions for Georgia artists as well as reciprocal exhibitions for European artists in the United States. She worked from a live model for over 20 years. Working exclusively on a single form, it became increasingly evident she was not interested in the individual, but rather in an idea or principle which the form represented.

In the year that Lea moved to New York City, 1988, someone gave her a small twisted neon tube that she wired to a life size metal figurative sculpture. That act marked the birth of the concept which would be the focus of her life's work: the dynamics of the interrelationship of light and form. She was able to pursue developing this dynamic through funding for public installations from the Brooklyn Arts Council; Artists Grants/Artists Space; and the New York State Council on the Arts.  Other awards and residencies included Southern Arts, England, and the Arts Council of Great Britain.  In 1991 she was awarded a British Exchange Fellowship Residency during which time she taught and lectured at various universities and art schools throughout England.  In 1995 Lea had a major one-person exhibition with catalogue, “Headlights”, at the Russell-Cotes Art Museum & Gallery in Bournemouth, England.  This was connected with an Artist Residency, teaching and lectures.  In 1997 she won a commission for a sculpture installation at the Walsall Museum & Art Gallery, England, which was at that time the top European center for artists working with artificial light.

On returning to New York in 1999, she received a MacDowell Colony Fellowship in Peterborough, New Hampshire, and in 2000 was awarded a Gottlieb Foundation Individual Artist Support Grant in New York City.  In 2003 she was invited to create a one-person exhibition at the Tompkins College Center Gallery, Cedar Crest College in Allentown, PA, with catalogue and lectures.  In 2004 she was awarded the Professional Artist in Residency at the Pilchuck School of Glass near Seattle,Washington.During 2003 – 2008, Lea’s work was included in several international exhibitions dealing with the theme of peace:  the “9/11 Exhibition” which traveled in the Northeast United States;  “Milestones for Peace” which traveled throughout the Middle East, Eastern Europe, and Europe, (venues included the Venice Biennale, Venice, Italy);  “Christmas in Peace”  at the Sato Museum, Tokyo, Japan;  and “Senderos Mexicanos” at the Regional Museum of Michoacano, Morelia,Mexico. In 2004 She was awarded a residency at the Virginia Center for the Creative Arts in Amherst, Virginia, and in 2006-2007 was awarded a Studio Residency followed by a  one person Public Installation with Chashama, New York City.  In 2008 Lea was invited to be one of the keynote speakers and to present her work in an  International Symposium on Art and Light at the University of the Creative Arts in Farnham, Surry, England.  She served on the Board of the Eyes of Hope Project which focuses on photography projects for children in third world countries since 2004 - 2012. After a hiatus of several years into the business world, she returned to making art and in 2014 had a one person exhibition, SACRED LIGHT: GOLDWORKS at Space 38/39 in New York CIty. Her work has been included in numerous group exhibitions including the Small Works/Baruch at the Mishkin Gallery, Baruch College, NYC; Sideshow Gallery, Holland Tunnel and Stairmasters Gallery in Brooklyn, NY in 2015 and 2016.  She continues to exhibit nationally and internationally Most recently she was Artist in Residence, 2016, at the Holland Tunnel Paros Gallery, Paros, Greece, where she exhibited her work in the exhibition, Shadow of Turning.  Her work can be seen at the YWCA Brooklyn, New York and in collections such as the Georgia Arts Council, Atlanta, Georgia; the Albany Art Museum, Albany, Georgia; the Russell-Cotes Museum in Bournemouth, England; the Walsall Museum & Art Gallery, Walsall, England; the Museum of Robin’s Center for Peace in Tel-Aviv, Israel. Lea currently lives and works in Brooklyn, New York where she is currently Artist in Residence at the YWCA Brooklyn.

ARTISTS STATEMENT

My work is about the relationship between light and form: how light affects form and form affects light, primarily in visual, psychological and symbolic ways. My forms originated with the single human form and and have evolved over time into simple geometric shapes of circles and rectangles representing the human condition. The light comes from artificial sources and represents not only the invisible reality underlying appearance, but also the spiritual dimension which gives life meaning. This interaction between light and form gives me a way of examining human existence both in the spiritual (invisible, intangible) dimension and in the physical dimension of observable phenomena.

PROCESS

Sculpture is my foundational media: all my work begins as a spatial concept. My central vision of the light and form dynamic determines concepts, materials, forms, and methods. Each body of work within this vision starts with an idea. Sometimes that idea is a visual idea like a window inside a window, or a light within a transparent form. That choice determines the materials, type of lighting and subsequently all the formal elements for that work. Some sculpture involves so many time and labor intensive processes such and mold making and casting, that a body of work can take take years to produce. THis eventually creates a need in me to be more dynamic and fluid, so I periodically turn from working in three dimensions to translating that idea into two dimensions for a season before returning to sculpture.

Two predominant bodies of work which illustrate this way of working are CITY ON A HILL and SACRED LIGHT. In CITY ON A HILL i placed a light within a translucent form, transforming the interior void into a sacred space, referring to a specific relationship between God and man.. I then placed these luminous forms in a larger context of sky, sea and space to document at dusk the complex and changing relationships of interior and exterior light which occur as field reversals blur the boundaries between forms, land, water, and sky. This moment when the material world intersects the spiritual world has always fascinated me, as this fleeting phenomena suggests other dimensions which exist parallel to the visible world. After documenting this installation, I brought the cast glass forms back to my studio, blew into the original molds, and built bases for most of these forms so they can exist permanently in interior spaces. Once again i placed a light within a translucent form, transforming the interior void into a sacred space and balancing the inner, artificial light with the existing, ambient light of an interior space.

The process which I use for two dimensional work starts off in the same way: the concept directs the the choice of formal elements ( line, texture , color etc), the materials, type of lighting, and methods. The first body of two dimensional work which came out of the CITY ON A HILL series was entitled UNIVERSE. The void suggests to me a sphere, and the idea of round brings to mind quarks, atoms, and planets. Having spent years thinking about inner space, whether psychological ,visual, or symbolic, I was drawn to the idea of outer space. After choosing the specific idea, deciding on the formal elements, and collecting materials , I take a week or so to brainstorm, cutting loose from rational thinking and turning to the intuitive, fun side of the mind. At this stage i work fast, which results in a lot of work. Then I step back, examine the work and listen to it- sometimes it directs me in a way that I might not have "thought" of, or to more specificity of concept or execution. I choose only the work that corresponds to the predetermined structure, lay the rest aside, and continue working on those selected piece through to completion. I consider myself a reductive thinker. I make a lot of work and then edit it severely. But that volume of work comes out of a conceptual process. The final step in my overall process is writing about each body of work. This discipline forces me deeper into what its about and flows inevitably into the next work.. I realize many artists have similar ways of thinking and working - its like entering into a deeply cut river moving so rapidly that the force of it carries you along. The determined structure forms the sides of the canyon and the creative part becomes the moving river.

This procedure helps create a unity of idea, images, materials and methods. In the two dimensional "poured works", every element is chosen for its capacity to reflect light and affect form. I use a wide variety of materials chosen primarily for texture and light conductive properties such as metallic oxides, interference pigments, and ground glass and minerals. The surface I work on, polycarbonate or vellum, looks like a translucent, frosted pebbled glass and allows light to penetrate. Sometimes i layer these surfaces, sometimes I flip them over if the reverse side is more interesting. I separate the finished work from the wall by attaching clear plexi cubes to the back of the work, so that natural light passing through translucent layers increases the perception of depth and creates a sense of floating in space. My methods are sculptural rather than painterly, involving the use of chemical processes, gravity and temperature. A sensuous experience of materials is counterbalanced by a sense of luminosity and space.

CV

SELECTED ONE PERSON EXHIBITIONS

2016
"Shadow of Turning", with Jan Mulder & Apostolis Zolotakis, Holland Tunnel Gallery, Paros, Greece
2014
"Sacred Light: Goldworks", catalogue, Space 38/39, NYC
2006
"City on a Hill", Sculpture Installation, Chashama, NYC
2003
"Beginnings", Tompkins College Center Gallery, Cedar Crest College, Allentown, PA; catalogue
1997
"Light-Worlds", sculpture installation, Walsall Museum & Gallery, Walsall, England; catalogue
1995
"Headlights", Russell-Cotes Art Gallery & Museum, Bournemouth, England; catalogue
1993
Artist Residency Exhibition @ Artspace, sponsored by Southern Arts, Portsmouth, England; catalogue
1992
"Vessels of the Spirit", Dolgenos, Newnan and Cronin Exhibition Space, NYC
1991
"Immanent Light/Emanant Form", A.I.R. Gallery, NYC
1985
Traveling Exhibition: Lamar Dodd Art Center, LaGrange, GA; Albany Museum of Art, Albany, GA; Macon Museum of Arts & Science, Macon, GA; Fay Gold Gallery, Atlanta, GA
1980
Artists Associates Gallery, Atlanta, GA
1976
Artists Associates Gallery, Atlanta, GA
1972
Artists Associates Gallery, Atlanta, GA

SELECTED GROUP EXHIBITIONS

2016-18
"Framed" Holland Tunnel Gallery, Brooklyn, NY
2015-18
"Small Works Baruch", Sydney Mishkin Gallery, Baruch College, NYC
2014-17
"Nation II, III, IV, V", Sideshow Gallery, Brooklyn, NY
2016
"Metropolis", Holland Tunnel Gallery, curated by Paulien Lethen, Holland Tunnel Gallery Paros, Greece
2015
"Neon Summer", Mercantile Home, Easton, PA
2015
"Tin Cup", Gaia Gallery, Brooklyn, NY
2012
Group Exhibition, Collier West Gallery, Brooklyn, NY
2011
Invitational Exhibition, Ruby Nottage Gallery, Brooklyn, NY
2008
International Symposium on Art & Light. University of the Creative Arts, Farnham, Surrey, England
2007
International Exhibition sponsored by Intercambio de Arte y Cultura Internacionale, Mario Gallery, Long Island City, NY
2002-07
"911 Exhibition", Kentler International Drawing Space, Brooklyn, NY, traveling to Bronx River Art Center, Bronx, NY
2002-07
"Milestones for Peace" Exhibition traveling throughout Middle East, Eastern Europe & Europe. Venues included Venice Biennale, Venice, Italy, Cathedral of Aachen, Aachen, Germany; International Artists Museum, Poland/Israel Festival; Museum of Robin’s Center for Peace, Tel-Aviv, Israel; and Milton J. Weill Gallery, NYC
2006
"Black and White", Holland Tunnel, Brooklyn, NY
2005
Invitational Group Exhibition, Fay Gold Gallery, Atlanta, GA
2004
"Senderos Mexicanos", Regional Museum of Michoacan, Morelia, Mexico, curated by Leah Poller
2003
"International Peace Exhibition", curated by Mako Fujimura,Seto Museum, Tokyo, Japan
2002
"Small Works Exhibition", Williamsburg Art & Historical Center, Brooklyn, NY
2002
"Chelsea Sculpture on the Tracks", Aurora Gallery, NYC
2001, 02
"911 Exhibition", Kentler International Drawing Space, Brooklyn, New York; Bronx River Art Center, Bronx, NY
2001, 02
"Milestones for Peace" Exhibition traveling throughout the Middle East, Eastern Europe and Europe. Venues include Venice Biennale, Venice, Italy; the Cathedral of Aachen, Aachen, Germany; International Artists' Museum, Poland/Israel Festival; Museum of Robin's Center for Peace, Tel-Aviv, Israel; and Milton J. Weill Gallery, NYC
2001
"Atlanta -New York Connection", Atlanta Historical Center, Swan Coach Gallery, Atlanta, GA
2000
"Local Papers", Williamsburg Art & Historical Center, Brooklyn NY
1999
"Generations 11", A.I.R. Gallery, NYC
1999
"Quality of Life" Ridge Street Gallery, NYC
1999
"A.I.R. Fellowship Exhibitions", A.I.R. Gallery, NYC
1998
"Reading Between the Lines", curated by Janet rider and Meredith McNeal
1997
"The Lightbox", The Williamsburg Art & Historical Center, Brooklyn, NY
1997
"Urban Glass Biennale", Urban Glass, curated by John Perreault, Brooklyn, NY
1996
"Cross Sections Beyond Surface", BACA/Brooklyn Arts Council Gallery, Brooklyn, NY
1995
"Light", curated by Richard Brachman, Gallery 473 Broadway, NYC, catalogue
1995
"Light", curated by Richard Brachman, Gallery 473 Broadway, NYC, catalogue
1994
Traveling Exhibition: twenty venues including Aspex Gallery, Portsmouth, England; Deane Clough Gallery, Halifax, England; Russell-Cotes Art Gallery & Museum, Bournemouth, England; University of Portsmouth, Portsmouth, England
1993
"The Machine in the Garden Revisited", curated by Janet Riker, Kings-borough Community College, Brooklyn, NY
1992
Traveling Group Exhibition, curated by Forge Toro, Independent Art Gallery, Queens, NY; University of Virginia, Charlottesville, VA, catalogue
1991
"Element of Drawing", curated by Judy Pfaff, AMMO Artists Exhibition Space, Brooklyn, NY
1990
"Urban Resurrection", The Gas Station, NYC, funded by the New York State Council on the Arts, NY
1990
"On Common Ground", curated by the Brooklyn Waterfront Artists Association, Brooklyn, NY
1989
"Drawing 1989", curated by Thomas Padon, Brigham Young University Arts Gallery, Provo, UT
1989
"Last Main Show", curated by the Brooklyn Waterfront Artists Association, Brooklyn, NY
1988
"At the Edge", curated by Barry Walker, Laguna Gloria Art Museum Austin, TX
1986
"Ut Och In", Malmo Kuntshall, Malmo, Sweden and Atlanta, GA
1985
"Birmingham Biennial", curated by Deborah Butterfield and John Buck, Birmingham Museum of Art, Birmingham, AL
1984
"USA: Portrait of the South", Palazzo Venezia, Rome, Italy & Atlanta, GA
1982
"The Great Garden Sculpture Show", The Sculptural Arts Museum, Atlanta, GA, catalogue
1980
NASA: National Association of Art Schools Invitational, University of Georgia, Athens, GA
1978
"Georgia Sculpture Exhibition", Lynden House Galleries, Athens, GA
1976
"American Drawings 1976", curated by the Smithsonian Arts Institute, Portsmouth, VA
1974
Invitational Exhibition, High Museum of Art, Atlanta, GA
1973
"Art on Paper", Weatherspoon Gallery, University of North Carolina, Chapel Hill, NC

AWARDS AND HONORS

2017-18
Artist in Residence, YWCA Brooklyn, NY
2016
Artist in Residence, Holland Tunnel Gallery Paros, Greece
2008
Keynote speaker at the International Symposium on Art & Light, University of the Creative Arts, Farnham, Surry, England
2005
Chashama Studio Award, NYC
2004
Fellowship, Virginia Center for the Creative Arts, Amherst, V
2003
Professional Artist in Residence, Pilchuck Glass School, Stanwood, WA
2000
Individual Artist Support Grant, Adolph & Esther Gottlieb Foundation Inc., NYC
2000
Individual Artist Support Grant, Adolph & Esther Gottlieb Foundation Inc., NYC
1999
"Artist in Residence", MacDowell Colony, Peterborough, NH
1997
Commission for Sculpture Installation, Walsall Museum & Art Gallery, Walsall, England
1995
"Artist in Residence", Russell-Cotes Art Gallery & Museum, Bournemouth, England
1994
Change, Inc., NYC
1993
Adolph & Esther Gottlieb Foundation Grant, NYC
1992
Exchange Fellowship & Southern Arts Grant, Arts Council of Great Britain, England
1990
New York State Council on the Arts, NYC
1990
Artists Grants/Artists Space, NYC
1990
BACA/Brooklyn Arts Council, Brooklyn, NY
1989
Juror's Choice Award & Touring Citation, "At the Edge", Laguna Gloria Art Museum, Austin, TX
1986-89
Fulton County Arts Council, Public Art Committee, Atlanta, GA
1986
GAIEF Travel Grant with "Ut Och In" Exhibition to Malmo, Sweden
1982
1st Place, 6th Annual Exhibition, Southern Watercolor Show, Pensacola Museum of Art, Pensacola, FL
1976
1st Place, Heritage Award, Georgia Commission for the National Bicentennial Celebration
1972
1st Place, Atlanta Artists Club Annual Juried Show, Atlanta, GA
1972
Purchase Award, Georgia Arts Council, Atlanta, GA

BIBLIOGRAPHY

Holland Tunnel Gallery, Paulien Lethen & Heleen Schuttevaer, "Black & White", 2016
Documentary on International Artists and Philip Guston Mural in Morelia, Mexico aired on BBC and other networks
Argelia Castillo, "Senderos Mexicanos", ACENTO, July 21, 2004
"Bournemouth International Arts Festival", THE ECHO, 1996
Neddie Heller, Editor, CROSSINGS, 1992
Neddie Heller, Editor, CROSSINGS, 1991
Rudi Sterne, CONTEMPORARY NEON, 1990
Stephen Bernstein, "Provocative Art", THE PHOENIX, 1989
Jans Janstad, "Superior Feeling of Form", ARBETET, March 26, 1986
WHO'S WHO IN AMERICAN ART
WHO'S WHO IN THE SOUTH AND SOUTHEAST
THE WORLD WHO"S WHO OF WOMEN

SELECTED PUBLIC AND PRIVATE COLLECTIONS

Museum of Robin's Center for Peace, Tel-Aviv, Israel
Walsall Museum & Art Gallery, Walsall, England
Russell-Cotes Art Gallery & Museum, Bournemouth, England
The Albany Museum of Art, Albany, GA
The Macon Museum of Arts & Science, Macon, GA
Georgia Arts Council, State Art Collection, Atlanta, GA
R.J. Reynolds, Winston Salem, NC
Kilpatrick, Cody, Regenstein, Rogers and McClatchy, Atlanta, GA
First National Bank, Cornelia, GA
King & Spalding, Atlanta, GA
Audrey, Parker, Risse, Managie & Brantly, Atlanta, GA
Troutman, Sanders, Lockerman and Brantly, Atlanta, GA
Peterson & Young, Atlanta, GA
Clyde Rodbell, Atlanta, GA

EDUCATION

1978-79
University of Athens, Athens, GA; Sculpture, Drawing
1970
University of Colorado, Boulder, CO., Psychology; BFA, Visual Art

CONTACT

30 Third Ave., Apt. 6G
Brooklyn, New York 11217
404 229 1197
lauriejlea@yahoo.com

NEWS

CURRENT GROUP EXHIBITIONS

"FRAMED"
The Holland Tunnel Gallery and Stairmasters, 61 & 59 South 3rd Street, Brooklyn NY 11249
Open by appointment after November 9, 2016
718 384 5738 / hollandtunnelart@gmail.com

WORK ON VIEW

Details Gallery, 166 Richmond, Charlottetown, Prince Edward Island, Canada CIA IH9, 902 892 2233

YWCA Brooklyn Lobby (open to the public), 30 Third Ave, Brooklyn, NY 11217, 718 875 1190

Interview with Mako Fujimura


contact me

30 Third Ave., Apt. 6G
Brooklyn, New York 11217
404 229 1197
lauriejlea@yahoo.com
SACRED LIGHT
is a body of work originally conceived in three dimensions as an installation consisting of long vertical light-forms (electro luminescent strips) covered with clear broken glass and emulsions and suspended by monofilament. The interaction of light and form gives me a way of examining human existence both in the physical dimension of observable phenomena and in the spiritual (invisible, intangible) dimension. Broken and translucent materials such as glass, cover but do not obscure the light and refer to states of fragility, fragmentation, transformation and redemption. The fusion of broken forms and light becomes a metaphor for hope. The darker the world, the brighter the light. The prophet Isaiah said that "the light shines in the darkness but the darkness did not comprehend it.
SACRED LIGHT, Cathedral Installation, NYC/ electro luminescent lighting, glass and emulsions/ variable dimensions
SACRED LIGHT, Cathedral Installation, NYC
SACRED LIGHT, YWCA Brooklyn Installation / glass & emulsions/ 4' x 5" x 3"
SACRED LIGHT, detail
SACRED LIGHT/ detail
SACRED LIGHT/ Installation/ Fay GOld Gallery Group Exhibition, Atlanta, GA/ L strips, glass, emulsions, each piece 7' x 5" x 3"
SACRED LIGHT/ GA Installation detail
LIGHT LINES/ Aurora Gallery, NYC L strips, vine, glass, cellophane, emusions, variable dimensions
LIGHT LINES, detail
SACRED LIGHT, Private Collection, Brooklyn, NY, glass and emulsions, 4' x 3" x 2"
BEGINNINGS:LIGHT, Installation at Tompkins College Center Gallery, Cedarcrest College, Allentown, PA, L strips, glass emulsions, variable dimensions
BEGINNINGS:LIGHT, alternate view
BEGINNINGS:LIGHT, detail
BEGINNINGS:LIGHT, detail
BEGINNINGS:LIGHT, detail
SACRED LIGHT
is a body of work originally conceived in three dimensions as an installation consisting of long vertical light-forms (electro luminescent strips) covered with clear broken glass and emulsions and suspended by monofilament. The interaction of light and form gives me a way of examining human existence both in the physical dimension of observable phenomena and in the spiritual (invisible, intangible) dimension. Broken and translucent materials such as glass, cover but do not obscure the light and refer to states of fragility, fragmentation, transformation and redemption. The fusion of broken forms and light becomes a metaphor for hope. The darker the world, the brighter the light. The prophet Isaiah said that "the light shines in the darkness but the darkness did not comprehend it.
CITY ON A HILL
is a series begun during an Artists Residency at Pilchuck Glass School near Seattle, Washington, where I cast glass forms with interior voids, requiring as many as 30 molds per form. This series is part of a larger, long term body of work in which I explore the relationship between light and form. In this instance my focus is on the dynamics between a form and a light infusing that form, transforming it into a sacred space. This present body of work consists of cast and blown glass forms lit from the interior with neon and placed among ruins on a a desolate beach area off Staten Island, New York. I love this place where the passage of time and forces of nature have transformed an abandoned, century old hospital into graceful, eroded forms echoing the ruins of a city. Documentation of this work took place during nightfall at rising high tide. I have long been intrigued by the mysterious part of life that is an invisible and intangible reality underlying appearance, and by what happens when this spiritual dimension intersects the physical dimension. I use luminous forms to evoke spiritual and psychological states such as awe, fragility, power, fragmentation, and redemption. My desire is that the interplay of fragile forms, elements of nature. and the immaterial presence of light would raise questions and open portals to the nature of life and of being.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
CITY ON A HILL
is a series begun during an Artists Residency at Pilchuck Glass School near Seattle, Washington, where I cast glass forms with interior voids, requiring as many as 30 molds per form. This series is part of a larger, long term body of work in which I explore the relationship between light and form. In this instance my focus is on the dynamics between a form and a light infusing that form, transforming it into a sacred space. This present body of work consists of cast and blown glass forms lit from the interior with neon and placed among ruins on a a desolate beach area off Staten Island, New York. I love this place where the passage of time and forces of nature have transformed an abandoned, century old hospital into graceful, eroded forms echoing the ruins of a city. Documentation of this work took place during nightfall at rising high tide. I have long been intrigued by the mysterious part of life that is an invisible and intangible reality underlying appearance, and by what happens when this spiritual dimension intersects the physical dimension. I use luminous forms to evoke spiritual and psychological states such as awe, fragility, power, fragmentation, and redemption. My desire is that the interplay of fragile forms, elements of nature. and the immaterial presence of light would raise questions and open portals to the nature of life and of being.
LIGHT-WORLDS
was an installation commissioned for The Other Space, Walsall Museum & Art Gallery, Walsall England, 1997. Small motors rotated multiple mirrored, glass and metal hanging globes at different speeds depending on size and weight. Pinspot lighting directed at the moving globes reflected into patterns of light which stretched and swirled across the surfaces of the space, crisscrossing and enveloping viewers in a sea of changing perceptions.
LIGHT-WORLDS, Commissioned Installation, Walsall Museum & Art Gallery, Walsall, England/ incandescent lighting, jewel lights, mixed medium/variable dimensions
LIGHT-WORLDS, alternate View
LIGHT-WORLDS, alternate View
LIGHT-WORLDS, detail
LIGHT-WORLDS, detail
LIGHT-WORLDS, detail
LIGHT WORLDS
was an installation commissioned for The Other Space, Walsall Museum & Art Gallery, Walsall England, 1997. Small motors rotated multiple mirrored, glass and metal hanging globes at different speeds depending on size and weight. Pinspot lighting directed at the moving globes reflected into patterns of light which stretched and swirled across the surfaces of the space, crisscrossing and enveloping viewers in a sea of changing perceptions.
SACRED LIGHT
This sculpture was part of THE SACRED LIGHT installation series and now hangs in a private collection in Atlanta, GA.
SACRED LIGHT, YWCA Brooklyn Installation / glass & emulsions/ 4' x 5" x 3"
SACRED LIGHT, detail
SACRED LIGHT/ detail
SACRED LIGHT
This sculpture was part of THE SACRED LIGHT installation series and now hangs in a private collection in Atlanta, GA.
CITY ON A HILL
After documenting the installation CITY ON A HILL outdoors in changing light conditions, I created bases for the glass forms and brought them into an interior space.. This work consists of (neon) light, glass,wood and metal. A dialectic occurs between the solid, earthy fragments of wood, metal and glass and the immaterial presence of light. When light infuses the interior of a translucent form, it represents the void within transforming into a sacred space. The thickness and texture of the glass affects the thin line of neon light even as the light transforms the glass form, sometimes in unexpected ways.
CITY ON A HILL, series 1/ neon, bronze, cast glass/ 25.5" x 9" x 5"
CITY ON A HILL, series 1/ back view
CITY ON A HILL, series 2/ neon, plexiglass, barbed wire, bronze/ 19.5" x 9" x 6"
CITY ON A HILL, series 2/ back view
CITY ON A HILL, series 3/ neon, cast glass wood/ 20" x 9" x 6"
CITY ON A HILL, series 3/ right view
CITY ON A HILL, series 3/ detail
CITY ON A HILL, series 4/ neon blown glass, cast brass/ 20.5" x 6" x 5"
CITY ON A HILL, series 4/ detail
CITY ON A HILL, series 5/ neon, cast glass, wood/ variable dimensions
CITY ON A HILL, series 6/ neon, cast glass, bronze/ 14" x 9" x 8"
CITY ON A HILL, series 6/ alternate view
CITY ON A HILL
After documenting the installation CITY ON A HILL outdoors in changing light conditions, I created bases for the glass forms and brought them into an interior space.. This work consists of (neon) light, glass,wood and metal. A dialectic occurs between the solid, earthy fragments of wood, metal and glass and the immaterial presence of light. When light infuses the interior of a translucent form, it represents the void within transforming into a sacred space. The thickness and texture of the glass affects the thin line of neon light even as the light transforms the glass form, sometimes in unexpected ways.
EARTH TO SKY
was my first attempt to translate the sculptural body of work, SACRED LIGHT, into two dimensions. The number seven is significant in cultures throughout the world and refers to completion and perfection in both the physical and spiritual realms.
EARTH TO SKY/ gold leaf, metallic oxides, ground glass and minerals, interference pigments/ 105" x 24"
YWCA Brooklyn lobby, Brooklyn, NY
panel 1
panel 2
panel 3
panel 4
panel 5
panel 6
panel 7
EARTH TO SKY
was my first attempt to translate the sculptural body of work, SACRED LIGHT, into two dimensions. The number seven is significant in cultures throughout the world and refers to completion and perfection in both the physical and spiritual realms.
BEFORE TIME BEGAN
This work is part of my new UNIVERSE series which was exhibited in 2016 at the Holland Tunnel Gallery Paros, Paros, Greece, in an exhibition entitled Shadow of Turning. It reads from left to right, beginning with mysterious life forms, moving to a view of earth from space, and finally to a fierce explosion which radiates from the center outward.
BEFORE TIME BEGAN
This work is part of my new UNIVERSE series which was exhibited in 2016 at the Holland Tunnel Gallery Paros, Paros, Greece, in an exhibition entitled Shadow of Turning. It reads from left to right, beginning with mysterious life forms, moving to a view of earth from space, and finally to a fierce explosion which radiates from the center outward.
BEFORE TIME BEGAN/ metallic oxides, interference pigments, ground minerals, gouache/ 14" x 118"
panel 1
panel 2
panel 3
panel 4
Scroll right
 
The KINGDOM WORKS are the two dimensional interpretation of the SACRED LIGHT series. There will be four variations of this theme: TRUE VINE, LIGHT IN THE DARKNESS, APOCALYPSE and one more to follow. As in all my work, light juxtaposes form. A slim vertical luminous form intersects the seven horizontal panels from top to bottom. The spiritual meets the earthly in a cross. Just as the number seven refers to perfection and completion, the number four refers to earth - four seasons, four elements, four directions etc.

True Vine
This first KINGDOM WORK depicts the calm before the storm: the world at peace, nature in harmony - summer's earth, sky and water; waves rolling in and out in rhythm with the tides. The vine supplies life to all the branches - all the earth, all peoples, connecting and holding all together.
TRUE VINE/ metallic oxides, interference pigments, ground glass and minerals on vellum/ 9' x 30" x 2"
TRUE VINE/ YWCA Brooklyn lobby
TRUE VINE/ detail
panel 1
panel 2
panel 3
panel 4
panel 5
panel 5, alternate light
panel 6
panel 7
The KINGDOM WORKS are the two dimensional interpretation of the SACRED LIGHT series. There will be four variations of this theme: TRUE VINE, LIGHT IN THE DARKNESS, APOCALYPSE and one more to follow. As in all my work, light juxtaposes form. A slim vertical luminous form intersects the seven horizontal panels from top to bottom. The spiritual meets the earthly in a cross. Just as the number seven refers to perfection and completion, the number four refers to earth - four seasons, four elements, four directions etc.

True Vine
This first KINGDOM WORK depicts the calm before the storm: the world at peace, nature in harmony - summer's earth, sky and water; waves rolling in and out in rhythm with the tides. The vine supplies life to all the branches - all the earth, all peoples, connecting and holding all together.
The KINGDOM WORKS are the two dimensional interpretation of the SACRED LIGHT series. There will be four variations of this theme: TRUE VINE, LIGHT IN THE DARKNESS, APOCALYPSE and one more to follow. As in all my work, light juxtaposes form: in these works a single vertical luminous form intersects the seven horizontal panels from top to bottom. The spiritual meets the earthly in a cross. Just as the number seven refers to perfection and completion, the number four refers to earth - four seasons, four elements, four directions etc.

Light In The Darkness
is the second work in the two dimensional SACRED LIGHT series. In contrast to the peace and calm of the first work, TRUE VINE , this work was born out of violence - the violence of nature and of man. Just as the predecessor GOLDWORKS referred to Hurricane Sandy, this piece connects the 9/11 tragedy to the present ISIS crisis. It addresses the brokenness of a world fractured by war, famine and disease. Light breaks through the darkness, bringing hope for healing and restoration.
LIGHT IN THE DARKNESS/ LEDs, mixed media on frosted polycarbonate/ 9' x 30" x 2"
LIGHT IN THE DARKNESS, detail
panel 1
panel 2
panel 3
panel 4
panel 5
panel 6
panel 7
The KINGDOM WORKS are the two dimensional interpretation of the SACRED LIGHT series. There will be four variations of this theme: TRUE VINE, LIGHT IN THE DARKNESS, APOCALYPSE and one more to follow. As in all my work, light juxtaposes form: in these works a single vertical luminous form intersects the seven horizontal panels from top to bottom. The spiritual meets the earthly in a cross. Just as the number seven refers to perfection and completion, the number four refers to earth - four seasons, four elements, four directions etc.

Light In The Darkness
is the second work in the two dimensional SACRED LIGHT series. In contrast to the peace and calm of the first work, TRUE VINE , this work was born out of violence - the violence of nature and of man. Just as the predecessor GOLDWORKS referred to Hurricane Sandy, this piece connects the 9/11 tragedy to the present ISIS crisis. It addresses the brokenness of a world fractured by war, famine and disease. Light breaks through the darkness, bringing hope for healing and restoration.
The KINGDOM WORKS are the two dimensional interpretation of the SACRED LIGHT series. There will be four variations of this theme: TRUE VINE, LIGHT IN THE DARKNESS, APOCALYPSE and one more to follow. As in all my work, light juxtaposes form: in these works a single vertical luminous form intersects the seven horizontal panels from top to bottom. The spiritual meets the earthly in a cross. Just as the number seven refers to perfection and completion, the number four refers to earth - four seasons, four elements, four directions etc.

Apocalypse
APOCOLYPSE/ LEDs, metallic oxides, interference pigments,gold leaf, ground glass and minerals/ 9' x 30"
panel 1
panel 2
panel 3
panel 4
panel 5
panel 6
panel 7
The KINGDOM WORKS are the two dimensional interpretation of the SACRED LIGHT series. There will be four variations of this theme: TRUE VINE, LIGHT IN THE DARKNESS, APOCALYPSE and one more to follow. As in all my work, light juxtaposes form: in these works a single vertical luminous form intersects the seven horizontal panels from top to bottom. The spiritual meets the earthly in a cross. Just as the number seven refers to perfection and completion, the number four refers to earth - four seasons, four elements, four directions etc.

Apocalypse
Light Rains
Tiny embedded LED lights illuminate hand made Japanese paper covered by a shower of colors. The former and latter rains which fall to the earth allow seed to germinate and later ripen the harvest, an earthly process with spiritual significance.
LIGHT RAINS/ LEDs, fluorescent tube, Japanese paper, fluid acrylics, Damar resin, beeswax/ 9' x 15" x 3"
LIGHT RAINS/ YWCA Brooklyn lobby installation
LIGHT RAINS, detail
Light Rains
Tiny embedded LED lights illuminate hand made Japanese paper covered by a shower of colors. The former and latter rains which fall to the earth allow seed to germinate and later ripen the harvest, an earthly process with spiritual significance.
UNIVERSE
Previously my focus has been on the dynamics between a form and a light infusing that form (CITY ON A HILL), Now, pursuant to my interest in spiritual and psychological inner space,my focus is drawn to outer space, the universe we inhabit- the solar system including stars, planets and galaxies. Throughout the ages the circle and sphere have represented man and the spiritual dimension of life. I intend to continue exploring the sphere in relation to light and space in this current body of work.
NOVA/ metallic oxides, interference and phosphorus pigments, fluorescent sprays, ground glass and minerals on frosted polycarbonate/ 15" x 15"
BLUE MOON/ mixed media on polycarbonate/ 12" x 11"
GOLD SPIRAL/ metallic oxides, ground glass, gouache on frosted polycarbonate/ 12" x 12"
PINK GALAXY/ metallic oxides, ground glass and minerals/ 12" x 12"
STAR TREK/ metallic oxides, metal, ground minerals and glass, gouache on frosted polycarbonate/ 18" x 24"
BEYOND THE VEIL/ metallic oxides, gold leaf,gouache on frosted polycarbonate/ 14" x 30"
SEA GALAXY/ metallic oxides, gouache on frosted polycarbonate/ 14" x 30"
MARS/ metallic oxides, metal, fluid acrylics on frosted polycarbonate/ 14" x 30"
MARS/ alternate view
SOLAR FLARE/ metalic oxides, interference pigments, ground glass and minerals on frosted polycarbonate/ 18" x 30"
SHADOW OF TURNING/ metallic oxides, interference pigments, ground glass and minerals on frosted polycarbonate/ 18" x 24"
EMERALD SPHERES/ metalic oxides, ground glass, magnum, mica, pearl on frosted polycarbonate/ 24" x 7"
EYE OF GOD/ metalic oxides, ground glass and minerals, xerox on frosted polycarbonate, 20" x 5"
UNIVERSE
Previously my focus has been on the dynamics between a form and a light infusing that form (CITY ON A HILL), Now, pursuant to my interest in spiritual and psychological inner space,my focus is drawn to outer space, the universe we inhabit- the solar system including stars, planets and galaxies. Throughout the ages the circle and sphere have represented man and the spiritual dimension of life. I intend to continue exploring the sphere in relation to light and space in this current body of work.
Small Worlds
small, independent and unique planets.
SMALL WORLDS, series 1/ metallic oxides, interference pigments, ground glass & minerals on frosted polycarbonate/ 8" x 8"
SMALL WORLDS, series 2/ metallic oxides, interference pigments, gouache on frosted polycarbonate/ 8" x 8"
SMALL WORLDS, series 3/ metallic oxides, interference pigments, ground minerals on frosted polycarbonate/ 8" x 8"
SMALL WORLDS, series 4/ metallic oxides, ground minerals on frosted polycarbonate/ 8" x 8"
SMALL WORLDS, series 5/ metallic oxides, shellac, interference pigments, ground minerals on frosted polycarbonate/ 8" x 8"
SMALL WORLDS, series 6/ metallic oxides, ground glass & minerals on frosted polycarbonate/ 8" x 8"
SMALL WORLDS, series 7/ metallic oxides, eurothene, interference pigments, ground glass & minerals on frosted polycarbonate/ 8" x 8"
SMALL WORLDS, series 8/ metallic oxides, fluid acrylics, ground glass & minerals on frosted polycarbonate/ 8" x 8"
Small Worlds
small, independent and unique planets.
Light Orbs
Glowing balls of energy, a phenomena usually seen in low light conditions on digital images.
LIGHT ORBS, series 1/ Phosphorus, fluorescent sprays, gouache on polycarbonate, 9" x 9"
LIGHT ORBS, series 2/ Phosphorus & fluorescent sprays & gouche on polycarbonate, 9" x 9"
LIGHT ORBS, series 3/ Phosphorus & fluorescent sprays & gouache on polycarbonate, 9" x 9"
LIGHT ORBS, series 4/ Phosphorus & fluorescent sprays & gouache on polycarbonate, 9" x 9"
LIGHT ORBS, series 5/ Phosphorus & fluorescent sprays, ground minerals on frosted polycarbonate, 8" x 8"
LIGHT ORBS, series 6/ Phosphorus & fluorescent sprays, ground minerals, gouache on frosted polycarbonate, 9" x 9"
LIGHT ORBS, series 7/ Phosphorus & fluorescent sprays, gouache on frosted polycarbonate, 9" x 9"
LIGHT ORBS, series 8/ Phosphorus & fluorescent sprays, gouache on frosted polycarbonate, 9" x 9"
LIGHT ORBS, series 9/ Phosphorus & fluorescent sprays, gouache on frosted polycarbonate, 9" x 9"
LIGHT ORBS, series 10/ Phosphorus & fluorescent sprays, gouache on frosted polycarbonate, 9" x 9"
LIGHT ORBS, series 11/ Phosporus & fluoresent sprays, gouache on frosted polycarbonate, 9" x 9"
LIGHT ORBS, series 12/ Phosphorus & fluorescent sprays, ground minerals, 8" x 8"
Light Orbs
Glowing balls of energy, a phenomena usually seen in low light conditions on digital images.
Goldworks
The GOLDWORKS series was created shortly after Hurricane Sandy hit the New York City area where I live. After a hiatus of several years from my art, this was the first body of work which appeared. After months of working with dense blacks, brilliant light filled metallic oxides and interference pigments, it surprised me with its clear sense of landscape. I realized that these works were deeply symbolic of the human drama which had swept across the lives of so many living near the water. Precious strands of gold and light appearing in the wake of destruction became reminders of those invisible and eternal values which cannot be destroyed by any force of nature or man. Enduring the struggle brings depth and strength. In time these works segued into the background for the next step in my SACRED LIGHT series which I translated into two dimensions. They began to form the surface of the seven panels composing the next bodies of work, TRUE VINE and LIGHT IN THE DARKNESS.
GOLDWORKS, series 1/ Metallic oxides, ground minerals/ 10" x 7"
GOLDWORKS, series 2/ Metallic oxides, gold leaf, ground minerals/ 10" x 7"
GOLDWORKS, series 3/ Metallic oxides, ground minerals on frosted polycarbonate/ 10" x 7"
GOLDWORKS, series 4/ Alternate light, metallic oxides/ 10" x 7"
GOLDWORKS, series 5/ Gold leaf, metallic oxides, interference pigments, gouache/ 10" x 7"
GOLDWORKS, series 6/ Metallic oxides, gold leaf, gouache on vellum, 8" x 16"
GOLDWORKS, series 7/ Metallic oxides, sand, gouache on vellum, 8" x 16"
GOLDWORKS, series 8/ Metallic oxides, gouache, 8" x 16"
GOLDWORKS, series 9/ Gold leaf, metallic oxides, interference pigments, gouache
GOLDWORKS, series 10/ Metallic oxides, interference pigments, magnum, glass, gouache on vellum, 14" x 14"
GOLDWORKS, series 11/ Gold leaf, metallic oxides, interference pigments, magnum, glass, gouache on vellum, 14" x 14"
GOLDWORKS, series 12/ Gold leaf, metallic oxides, interference pigments, gouache on vellum, 14" x 21"
GOLDWORKS, series 13/ Metallic oxides, gouache on frosted polycarbonate, 24" x 7"
GOLDWORKS, series 13/ Metallic oxides, gouache on frosted polycarbonate, 24" x 7"
Goldworks
The GOLDWORKS series was created shortly after Hurricane Sandy hit the New York City area where I live. After a hiatus of several years from my art, this was the first body of work which appeared. After months of working with dense blacks, brilliant light filled metallic oxides and interference pigments, it surprised me with its clear sense of landscape. I realized that these works were deeply symbolic of the human drama which had swept across the lives of so many living near the water. Precious strands of gold and light appearing in the wake of destruction became reminders of those invisible and eternal values which cannot be destroyed by any force of nature or man. Enduring the struggle brings depth and strength. In time these works segued into the background for the next step in my SACRED LIGHT series which I translated into two dimensions. They began to form the surface of the seven panels composing the next bodies of work, TRUE VINE and LIGHT IN THE DARKNESS.
Blueworks
Spiral galaxies are rotating spiral structures consisting of stars, gas and dust, surrounded by a halo of stars.
BLUEWORKS/ Gouache on paper/ 8" x 7"
BLUEWORKS/ Gouache on paper/ 8" x 7"
BLUEWORKS/ Gouache on paper/ 8" x 7"
Blueworks
Spiral galaxies are rotating spiral structures consisting of stars, gas and dust, surrounded by a halo of stars.
Blood Edge
Edge: a line or border where a surface terminates (Dictionary.com.) A thin sharpened side, as of the blade of a cutting instrument; a cutting edge. A penetrating, incisive quality. (thefreedictionery.com). The thin line separating life and death.
BLOOD EDGE/ Metallic oxides, interference pigments on polycarbonate/ 10" x 11"
BLOOD EDGE/ Metallic oxides, gold leaf, cadmium on frosted polycarbonate/ 8" x 7"
BLOOD EDGE/ Metallic oxides, interference pigments on frosted polycarbonate/ 22" x 16"
Blood Edge
Edge: a line or border where a surface terminates (Dictionary.com.) A thin sharpened side, as of the blade of a cutting instrument; a cutting edge. A penetrating, incisive quality. (thefreedictionery.com). The thin line separating life and death.
Water
The WATER series consists of a variety of translucent materials which include ground glass, fluid and translucent mediums, and metallic oxides poured onto vellum (frosted polycarbonate) or paper. Small plexiglass cubes placed behind the vellum separate this surface from the supporting box-frame, allowing natural light to come through and evoke an appearance of depth and movement.

In these works the interaction of light with form allows me to explore visual and spatial perceptions relating to water: weightlessness, suspension, and varying degrees of visual clarity. Differing psychological states such as agitation, violence, and stillness can be symbolized by being in or around water. What interests me especially is water as a symbol of the primordial chaos out of which comes all life. The chaos and even violence of birth, presents a mysterious gateway to life. This unlikely coalescence is a touchstone for my work.
WATER, series 1/ Ground minerals & glass, metal, gouache/ 15" x 14"
WATER, series 2/ Mixed media on frosted polycarbonate/ 15" x 14"
WATER, series 3/ Metallic oxides, ground glass, cellophane, shellac on frosted polycarbonate
WATER, series 4/ Mixed media on paper/ 15" x 14"
WATER, series 5/ Metallic oxides, ground glass and minerals/ 15" x 14"
WATER, series 6/ Mixed media on frosted polycarbonate/ 15" x 14"
WATER, series 7/ Metallic oxides, ground glass and minerals, gouache on frosted polycarbonate/ 15" x 10"
WATER, series 8/ Metallic oxides, ground glass and minerals, interference pigmensts on frosted polycarbonate/ 15" x 14"
WATER, series 9/ Shellac, fluid acrylics, ground glass and minerals on frosted polycarbonate/ 15" x 14"
WATER, series 10/ Fluid acrylics, ground glass, chalk, cellophane on vellum/ 15" x 14"
WATER series 11/ mixed media on frosted polycarbonate/ 15" x 14"
WATER series 12/ mixed media on paper/15" x 14"
WATER series 13/ shellac, cellophane, fluid acrylics, metallic oxides/ 15" x 14"
WATER series 14/ mixed media on frosted polycarbonate/ 15" x 14"
WATER series 15/ mixed media on paper/ 15" x 14"
WATER series 16/ shellac, ground glass & minerals, fluid acrylics on frosted polycarbonate/ 15" x 14"
WATER series 17/ mixed media on frosted polycarbonate/ 15" x 14"
WATER series 18/ mixed media on paper/ 15" x 14"
WATER series 19/ mixed media on frosted polycarbonate/ 15" x 14"
WATER series 20/ mixed media on frosted polycarbonate/ 15" x 14"
Water
The WATER series consists of a variety of translucent materials which include ground glass, fluid and translucent mediums, and metallic oxides poured onto vellum (frosted polycarbonate) or paper. Small plexiglass cubes placed behind the vellum separate this surface from the supporting box-frame, allowing natural light to come through and evoke an appearance of depth and movement.

In these works the interaction of light with form allows me to explore visual and spatial perceptions relating to water: weightlessness, suspension, and varying degrees of visual clarity. Differing psychological states such as agitation, violence, and stillness can be symbolized by being in or around water. What interests me especially is water as a symbol of the primordial chaos out of which comes all life. The chaos and even violence of birth, presents a mysterious gateway to life. This unlikely coalescence is a touchstone for my work.
Earth
The EARTH series consists of shellac on vellum or paper subjected to severe temperature changes. Formed from the secretion of shellac bugs, the material surface of these works suggests the life cycle. In life, earth is supportive of us: we walk on it and get food from it. In death, matter rejoins earth as it decays. Earth and matter appear solid, calm, but the presence of light within the translucent and viscous material of shellac speaks of an underlying reality.
EARTH, series 1/ shellac on paper/ 13.5" x 10"
EARTH, series 2/ shellac on vellum
EARTH, series 3/ shellac on frosted polycarbonate/ 13.5" x 10"
EARTH, series 4/ shellac on frosted polycarbonate/ 13.5" x 10"
EARTH, series 5/ shellac on frosted polycarbonate/ 13.5" x 10"
EARTH, series 6/ shellac on frosted polycarbonate/ 13.5" x 10"
EARTH, series 7/ shellac on frosted polycarbonate/ 13.5" x 10"
EARTH, series 8/ shellac on frosted polycarbonate/ 13.5" x 10"
EARTH, series 9/ shellac on frosted polycarbonate/ 15" x 11"
EARTH, series 10/ shellac on frosted polycarbonate/ 5" x 11"
EARTH, series 11/ shellac on polycarbonate/ 15" x 11"
EARTH, series 12/ shellac on frosted polycarbonate/ 13.5" x 10"
EARTH, series 13/ Shellac on frosted polycarbonate/ 13.5" x 10"
EARTH, series 14/ shellac on frosted polycarbonate/ 13.5" x 10"
Earth
The EARTH series consists of shellac on vellum or paper subjected to severe temperature changes. Formed from the secretion of shellac bugs, the material surface of these works suggests the life cycle. In life, earth is supportive of us: we walk on it and get food from it. In death, matter rejoins earth as it decays. Earth and matter appear solid, calm, but the presence of light within the translucent and viscous material of shellac speaks of an underlying reality.
Veils
When veils are removed, there is LIGHT.
Mixed media on polycarbonate, 10" x 7"
Interference pigments, ink on frosted polycarbonate, 12" x 10"
Metallic oxides, interference pigments, gouache on polycarbonate, 16" x 12"
Metallic oxides, interference pigments, 18" x 12"
Metallic oxides, interference pigments, gouache on frosted polycarbonate, 18" x 12"
Metallic oxides, interference pigments, 18" x 12"
Metallic oxides, interference pigments, ground minersls, 18" x 24"
Veils
When veils are removed, there is LIGHT.
Corporate Concepts
 
 
 
 
 
 
Corporate Concepts

INSTALLATIONS

Sculptures

Modular Works


Oxford Dictionaries definition of Modular:

Employing or involving a module or modules as the basis of design or construction.

Unlike prefabricated and standardized modular furniture and houses, the modular art units composing EARTH TO SKY, KINGDOM WORKS, BEFORE TIME BEGAN and LIGHT RAINS are unique and personal. This concept evolved from the process of working in a small studio space to create artwork intended for large architectural spaces. For example, the KINGDOM WORKS can exist as shown with seven panels stacked vertically; they can be elongated or compressed vertically by hanging the panels further apart or closer together; highly textured panels or units of various shades and the same dimension can be added to create works up to 20’ hIgh. The additional panels can reflect or contrast with the surrounding walls, surfaces, colors and materials, resulting in works designed for a specific site. BEFORE TIME BEGAN is a horizontal work which can expand horizontally, wrapping around corners and conforming to the architecture of the space. Patrons and clients have the option of entering into the creative process by choosing from pre-existing works or units and helping guide color and texture for additional units to help compose a piece designed for a specific space.

Oxford Dictionaries definition of Modular:


Employing or involving a module or modules as the basis of design or construction.

Unlike prefabricated and standardized modular furniture and houses, the modular art units composing EARTH TO SKY, KINGDOM WORKS, BEFORE TIME BEGAN and LIGHT RAINS are unique and personal. This concept evolved from the process of working in a small studio space to create artwork intended for large architectural spaces. For example, the KINGDOM WORKS can exist as shown with seven panels stacked vertically; they can be elongated or compressed vertically by hanging the panels further apart or closer together; highly textured panels or units of various shades and the same dimension can be added to create works up to 20’ hIgh. The additional panels can reflect or contrast with the surrounding walls, surfaces, colors and materials, resulting in works designed for a specific site. BEFORE TIME BEGAN is a horizontal work which can expand horizontally, wrapping around corners and conforming to the architecture of the space. Patrons and clients have the option of entering into the creative process by choosing from pre-existing works or units and helping guide color and texture for additional units to help compose a piece designed for a specific space.

Poured Works

Corporate Concepts

All works are copyrighted and may not be published or reproduced