examples of personal artwork  [20]
Canoe paddles and Cattails
canoe paddles, mud, cattails   Dimensions Variable   {Fall 07}

A quick intervention on a lake in North Carolina, placing both the paddles and cattails to create a stark contrast to the tranquil environment on the “natural” lake that is was damned by
Duke Power.
either / or
walkers, crutches, aircraft cable    Dimensions Variable   {Winter 08}

A precariously balanced installation, the crutches were connected to a cable counter weighted by the walkers. The idea was to transform a very conceptually loaded object away from simple trite dialogue to larger assumptions about mobility, movement, and our perceptions of
the infirmed.
Ohm’s Law, Don’t Touch
electrical cord, light bulb   12 ft x 2 in x 6 ft 8 in   {Winter 08}

An electrical cord deconstructed down to its base elements, illustrating our ignorance of how our world actual works. The wire created a filigree drawing, their delicate fine lines belying the shock one would receive if the wires were touched.
Hugh Everett Tipping a Chair Backwards
found chairs   8 ft x 2 ft x 12 ft   {Spring 08}

Chairs stacked without adhesives referencing the multiverse theory, created in 1957 by Everett. In this quantum universe the chairs evolve into a cascade, like a waterfall coming out of
the wall.
paint, sponges, bottles, water   Dimensions Variable    {Spring 08}

A collaborative installation with a designer and english student dealing with the apathetic nature of the digital generation. People were given sponges to erase a text covered wall of excuses, the water soluble paint muddied and dissolved revealing a hidden layer of text.
Detail: D/vision
aftermath of opening night

The highly interactive show was conceived as an opening night spectacle after reading Richard Landrom's The Economics of Attention.
Building Beijing
bow saws   6 ft x 6 ft 1in x 4 ft 9 in   {Summer 08}

A traditional tool that construction workers still use in the 21st century. This mindset still persists to use labor-intensive tools contrasts western society’s idea of expensive machines to reduce labor costs. A tenuous relationship between poor workers and real estate moguls is
also implied.

Derelict Ladders
recombined used ladders   10 ft x 18 in x 18 ft   {Fall 08}

Ladders can symbolize a goal—the ladder of success, the corporate ladder—yet at their most basic level they are tools. Tools that help us manage our constructed world, this ladder is unusable reflecting the hopelessness one can feel in the face of tragedy.
Mapping my Artistic Practice
digital inkjet print   6 ft x 3 ft   {Fall 08}

A map of every sculpture made after leaving undergrad until 2008, the encoding system was developed with a design professor to chart every sculpture with five separate criteria.
Detail: Mapping my Artistic Practice
legend and key

Small text surrounds the circles, they are positive and negative comments made after reflecting on each piece. The dashed lines are concepts that carried over from piece to piece.
Renovation Suspended
construction debris, aircraft cable   60 ft x 52 ft x 12ft

Construction debris salvaged from Downtown redevelopment, reinserted and suspended from cables in an abandoned warehouse slated for renovation. The installation, like the building, exists somewhere between collapse and construction.
Detail: Renovation Suspended
aerial view    {Spring 09}

The piece swayed and moved under its own weight, heightening the sense of danger.
Logjam 1886-2009: the search for the key log
telephone poles, porcelain insulators, wire, trees     68 ft x 25 ft x 15 ft

A sculpture dealing with the local logging history of the St. Croix river and our current crisis within the failing power grid, both were seen as resources with an inexhaustible supply.
Detail: Logjam 1886-2009: the search for the key log
{Summer 09}

The intimacy one gains from climbing on and under the sculpture highlights our connection to telephone poles and the electrical power they deliver for us.
Urbarn: a nostalgic contemporary landscape
pallet wood, paint, construction waste, metal roofing    20 ft x 15 ft x 12 ft 4 in

Urbarn is a barn like structure, half nostalgic for our agrarian roots the other side a gritty urban scene. The sculpture represents urban migration and the consequences that has on our society.
Detail: Urbarn: a nostalgic contemporary landscape
urban side   {Fall 09}

The original idea came from a 2008 statistic over half of the world’s population live in urban centers, this is only possible because of our large and complex food transportation industry.
Spanning Systems [ a partial rewire ]
conduit, fluorescent lamps, wire, ballasts    83 ft x 10 ft x 26 ft

Using the language and skills of electricians and engineers, my bridge is a signal that allows the flow of information between the art world (transmitter) and real world (receiver) to occur.
Spanning Systems [ a partial rewire ]
outside section   {Spring 10}

The bridge spans out of the gallery, cantilevering into the real world. Drawing on the spectacle,systems thinking, and the metaphysical qualities of light this bridge opens the conversation to a wider audience instead of only speaking to the art cognoscenti.
Proposal for two utility poles bending under the weight and strain of their increasing electrical demands. 
Sweat Equity
reclaimed lumber, windows, metal roofing, salvaged bricks {Summer 2012}
A commission for the Carnegie Center in New Albany, IN. The half scale house references historic renovations, local natural disasters, and also super imposes the city grid below. Viewers are encouraged to walk under and around the sculpture in the downtown setting.
Sweat Equity
inside view 
Sweat Equity
Detail shot
Personal Artwork

Personal Artwork

20 images of my personal artwork

Creative Fields