cast foam, wood
cast foam, aluminum
VOODOO SELF PORTRAIT
cast foam, pins
INFINITE POWER AND INCREASED FLEXIBILITY
carved pine, yoga ball
carved oak, Burger King tray
As a child my family would go to church and then eat fast food after. Here I juxtapose the story of John the Baptist losing his head and a toy monster included with a kid’s meal.
carved oak, Slip-and-Slide
Religious iconography (hand carved, three feet tall) juxtaposed with a Slip-and-Slide (ordered online, fifteen feet long).
carved oak, rope
cast foam, kiddie pool, water, fan
An attempt to synthetically recreate a miracle.
1982 WARRIOR MONUMENT
A ten-foot tall monument to the video game warriors of my youth: Pac Man, Donkey Kong, Frogger, Pinky, Space Invaders, Dig Dug and Q-bert (in descending order).
An eighteen inch tall sculpture in response to Horatio Greenough’s George ‘Jupiter’ Washington. The President is at once real (naked, human) and ideal (levitating, inspirational).
recycled wood, steel
Scrap materials from the studio reorganized themselves into a god. I had nothing to do with it.
glass, wood, metal, gumballs
You can choose any spout to get your treat. The gum, however, is always the same.
ceramic busts, fishbowl, fish
cast hard candy, cap-gun caps
Enjoy this three feet long tasty treat: the sugar rush, the explosive caps between your teeth.
I could not sleep. I kept imagining a rolling ball of hands.
This group of over one hundred unique forms was installed at the 2006 Key West Sculpture Exhibition and then permanently in The Children’s Memorial Park in Lee’s Summit, Missouri.
A feminine self-portrait.
The G.I. JOHN series of sculptures and installations depicts an intrepid army of one. These life-size cast neoprene action figures promote anti-terrorism initiatives and defend core American values. This elite commando force has been deployed to numerous domestic targets: national landmarks, state parks, universities, office spaces, parking lots and living rooms. Dedicated to the defense of American citizens in these volatile locations, G.I. JOHN is here.
This series was in response to the notion of “us” versus “them.” “Us” obviously playing the role of the good and godly defenders of freedom at home and abroad, and “them” serving as “the other” or “evildoer.” I cast myself in the role of our fearless hero, embellishing my physique in synthetic material. Our villain is never apparent but lurks somewhere in the periphery. These works existed as both sculptures and installations.
With the United States entangling itself deeper into conflict in the Middle East, I was considering how small, seemingly unimportant decisions could develop into major conflict. I began to pay closer attention to inconsequential materials in my daily activity. This photograph shows a sculpture of a fifteen inch mushroom cloud made from a year’s worth of my collected lint from my dryer.
This cast relief was a colossal rendering of my handprint. Three feet in height, it was completed with the exacting detail of my fingerprints copied meticulously into the clay original.
This concrete and steel sculpture was inspired by a NOVA program about a mathematician who worked for several years to resolve a centuries-old equation. Art, like pure mathematics, is often in pursuit of something that serves no obvious practical purpose but, instead, has an inherent quality of beauty.
wood, brass, photographs
I created this fifteen inch tall sculpture while studying abroad at The University of Tasmania. The program was focused on furniture with an emphasis on inventive design with high craftsmanship. This piece reflected both my acquisition of new skills and my desire to create something that gave a sense of home. The cabinet includes moving parts, photographs, and music.
cast aluminum and bronze, wood
This seven feet tall group of mark-making tools aids the artist in drawing ideas into sand, earth or water. The title is derived from the biblical passage, “Yea though I walk through the valley of the shadow of death, I will fear no evil; for You are with me; thy rod and thy staff, they comfort me.” As the “rod” and “staff” might comfort the religious, an artist’s tools give her comfort.