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Sugared II

Glass, gold leaf, 5 x 14 x .25 inches. work in progress

Glass, Sculpture

#glass  #sculpture

Offering Bowl II (Contents Celestial Food)

Glazed stoneware, earthenware, and porcelain, variable dimensions

Ceramic, Sculpture

#ceramic  #glass  #pottery  #sculpture

Disobedience I

Ceramic, Wood, Paper, String, Enamel, Variable installation and dimensions 36 x 48 x 28”, 2011

Ceramic, Sculpture

Jamón Jamón I (Reliquary Generalife)

2019, Porcelain, silkscreen engobe, oil, 13 x 6.5 x 7 inches

Ceramic, Sculpture

#ceramic  #sculpture

Jamón Jamón I (Reliquary Generalife)

2019, Porcelain, silkscreen engobe, oil, 13 x 6.5 x 7 inches

Ceramic, Sculpture

#ceramic  #sculpture

Jamón Jamón I (Reliquary Generalife)

2019, Porcelain, silkscreen engobe, oil, 13 x 6.5 x 7 inches

Ceramic, Sculpture

#ceramic  #sculpture

Offering Bowl I (Contents Celestial Food)

Glazed stoneware with various artifacts made of glass, ceramic, and mixed media, variable

Ceramic, Sculpture

#ceramic  #glass  #pottery  #sculpture

Jamón Jamón I (Reliquary Generalife)

2019, Porcelain, silkscreen engobe, oil, 13 x 6.5 x 7 inches

Ceramic, Sculpture

#ceramic  #sculpture

Sugared I

Glass, gold leaf, 5 x 16 x .25 inches

Glass, Sculpture

#glass  #sculpture

Pentimento 5, (Streets Paved With Gold)

Glazed ceramic, kint1sugi, gold leaf, concrete, oak, archival print on paper, 25.5 x 13 x 10.25 inches

Ceramic, Sculpture

Offering Bowl I (Contents Celestial Food)

Glazed stoneware with various artifacts made of glass, ceramic, and mixed media, variable

Ceramic, Sculpture

#ceramic  #glass  #pottery  #sculpture

Pentimento 4

Glazed ceramic, plaster, archival print on paper, 15.25 x 11 x 6.25 inches

Ceramic, Sculpture

Disobedience I

Ceramic, Wood, Paper, String, Enamel, Variable installation and dimensions 36 x 48 x 28”, 2011

Ceramic, Sculpture

Disobedience I

Ceramic, Wood, Paper, String, Enamel, Variable installation and dimensions 36 x 48 x 28”, 2011

Ceramic, Sculpture

Pentimento 1 (Pet Scan)

Glazed stoneware, silkscreen print underglaze paper transfer, 12 x 12 x 5 inches

Ceramic, Print, Sculpture

Pentimento 3

Glazed ceramic, pigmented plastic, archival print on cotton rag paper, 16.5 x 9 x 6 inches

Ceramic, Sculpture

#art  #ceramic  #ceramics  #sculpture

Offering Bowl II

Glazed stoneware, earthenware, and porcelain, variable dimensions, variable dimensions 8 x 12 x 18 inches (15.2 x 30.5 x 46 cm)

Ceramic, Sculpture

#ceramic  #glass  #pottery  #sculpture

Disobedience I

Ceramic, Wood, Paper, String, Enamel, Variable installation and dimensions 36 x 48 x 28”, 2011

Ceramic, Sculpture

My Cup Runneth Over

Installation shot of My Cup Runneth Over, an exploration of brokenness and repair through the form of Raku ceramic forms cracked, repaired with gold (Kintsugi) and embellished with glaze, enamel, plastics, gold, glitter and grit.

Ceramic, Exhibition, Sculpture

#art  #ceramic  #raku  #sculpture  #vessel

Pentimento 15 (Bruno Lenoir)

Tin glazed porcelain, stainless steel, painted wood, silkscreen print on archival paper, 2021, 22.5 x 13 x 9 inches.

This work is paired with Pentimento 16 (Jean Diot). I work intuitively to create forms that cobbletogether stories that are often overlooked or purposefully forgotten. In the case of both Pentimento 15 and 16, there are two different silkscreen prints of sensual male bodies. An artist’s model, whose face is obscured by a rigid structure that is both a phallus, and an obstacle.

I was thinking about the tradition of wedding portraits made to commemorate couples across cultures and through out history. This pair of portrait altars, serves to commemorate a pair of lovers. That sort of celebration seemed more compelling to me, than a lonely plaque marking the site of their murder by their neighbors in 18th century Paris.

Ceramic, Print, Sculpture

Pentimento 16 (Jean Diot)

Tin glazed stoneware, painted wood, silkscreen print on archival paper, 2021. 31 x 13 x 9 inches

I was walking through the streets of Paris one rainy afternoon, when I came across a plaque commemorating the spot where the last homosexual couple were tortured, burned alive and their ashes scattered to the wind. This solitary moment became the impetus for a series of drawings, and prints, that led to the creation of a pair of sculptural altarpieces paying tribute to the charcutier Jean Diot and his lover the cobbler Bruno Lenoir. This work is paired with Pentimento 15 (Bruno Lenoir).

Ceramic, Print, Sculpture

Pentimento 11 (Wrestling with Pasquino)

Stoneware and earthenware slip harvested from a river bed in Haiti, silkscreen print on archival paper mounted to a sheet of tin and wrapped around the ceramic bust. 2021

Since the 16th century, people have been posting provocative political messages on a group of five Roman sculptures known as the Talking Statues. While doing research in Rome, I stumbled upon the first of these known as Pasquino. This third-century BCE Hellenistic statue was excavated and placed near Piazza Navona. In cover of night, people would paste messages satirizing the oppressive papal government. This tradition of public satire papering over these five statues continues to this day. Known as the Congregation of Wits, the statues act as places for public dialogue. It reminds me of how monuments today, are being contested, papered over, and in some cases removed, as an expression of the people. I made this bust using clay I harvested from a river bed in Haiti and then created a silkscreen print of wrestling bodies, printed onto archival paper, mounted on tin and wrapped around the face.

Ceramic, Print, Sculpture

#sculpture

Pentimento 21 (Patroclus Sleeping)

Tin glazed stoneware modeled after a glaze recipe first used in Persia 800 CE, silkscreen print on archival paper mounted to a sheet of tin and wrapped around the ceramic bust. 2021. 26 x 16 x 16 inches

I was inspired by the publication Song of Achiellies by Madeline Miller, which led me to read the Illiad, and consider the intimate relationship between Patroclus and Achilles. The historical erasure of intimacy between them is an example of how history is written by those in power. In the LGBTQ community there are too few artists who survive to be elders. The real queer coming of age is recovering ones histories; first as a viewer finding ourselves, then as a participant in the production of culture. We enfold queer traces into our creations, into our memories so we can pass them on. I made this bust of Patroclus sleeping, with a print on paper mounted to a sheet of tin draped over the face. It is an allusion to the grieving of Achiellies over his dead lover.

Ceramic, Print, Sculpture

#sculpture

Be Salted, Not Sugared

Glass, gold leaf, variable dimensions, 6 x 28 x .25 inches

Glass, Sculpture

#glass  #sculpture

Detail Be Salted, Not Sugared

Glass, gold leaf, variable dimensions, 6 x 28 x .25 inches

Glass, Sculpture

#glass  #sculpture

Detail Sugared II

Glass, gold leaf, enamel, 5 x 14 x .25 inches.

Glass, Sculpture

#glass  #sculpture

Sugared II

Glass, gold leaf, enamel, 5 x 14 x .25 inches.

Glass, Sculpture

#glass  #sculpture

Wishful Thinking

Glass, platinum leaf, variable dimensions, 18 x 25 x .25 inches

Glass, Sculpture

#glass  #sculpture

Breath I

Silkscreen underglaze print transfer on porcelain,18 x 11 x 6 inches

Ceramic, Print, Sculpture

#ceramic  #print  #sculpture  #silkscreen