A further piece in this series based upon the figurative gesture. I re-approached the literal and focused on the critical designs of the sculpting itself. This embodies the idea of figurative assemblage to me. 

Here is a new piece which makes use of scale and tension to achieve its purpose.  I have included a detail of the figure for the purposes of clarity.

And here is the single slide that I use in portfolios:

This piece was a little challenge to myself- I was told not to sculpt snakes, because there are far too many people who roll a piece of clay into a tube and call it a snake. So, I set out to fashion an asp that would live up to standards.

For these next two pieces, I have included (at least for one of them) a second photograph to illustrate the concern for working "in the round." I do understand David Smith's contention that a sculpture has a single intended viewpoint, and indeed I do have an ideal view in mind when I work, but I also understand that the piece needs to, from any angle, support the idea conveyed by the main face.

These three sculptures mark the beginning of a new series I am beginning in a three-dimensional format. The series is based upon the notion of the figurative gesture: sometimes represented by a physical human figure, sometimes suggested by other means. I am using a majority of found materials in these sculptures; the idea of assemblage to me is exciting, as each individual piece retains elements of its old character even when the final form has its own unity.

This trio is my attempt to liken the forms of the natural landscape to the form of the human figure. The exploration continues from a more literal exploration in the first piece, to a more abstracted form in the second, to a increased emphasis on suggestion in the third. 



These two pieces, which combine to form a diptych, were  painted after being questioned on my opinion of what is beautiful art, and what is ugly art. Later, looking at a sparrow hatchling flung from its nest, I remarked on it's simultaneous grace and horror in death. So here is my response: the first piece is beauty, the second is ugliness.

Acrylic on Canvas
9x11"

Acrylic on Canvas
8x11"

These final two pieces in the series place further emphasis on the idea that the abstract structure of light reveals and compliments the physical structure of the subject.

Acrylic on Canvas
20x25"

Acrylic on Canvas
24x36"

Two more paintings in this series. The first was partly an exploration of color as it reveals the structure of light, whereas the second experiments with stylistic mark-making, which is an aspect of my work that has persisted in many pieces.

Acrylic on Canvas
14x18"

Acrylic on Canvas
18x24"

The first several pieces in a series which emerged from the ideas in the previous two pieces, concentrating on the play of light in that it both reveals and creates abstract structure.

Acrylic on Cardboard
16x22"

Acrylic on Canvas
14x24"

Acrylic on Canvas
18x24"

Two little pieces exploring the abstract play of artificial light across a human landscape, as well as compositional balance through segmentation.

Acrylic on Illustration Board
4x10"

Acrylic on Illustration Board
5x8"

A focus on chiaroscuro and abstraction in a still life form.

Conte on Paper 18x14"

Acrylic on Illustration Board 14x10"

An experiment in abstraction. A still life treated as a landscape, then (the second image) further exploring abstraction of form and light.

Vine Charcoal, Conte on Cardboard 38x26"

Vine Charcoal and Conte on Paper 19x25"

Three pieces studying, respectively, organic vs. man-made forms, the draped figure, and an Albrecht Dürer inspired study of chiaroscuro on a "punched pillow" form.

Acrylic on Canvas
10x14"

Ballpoint Pen and Conte on Paper
10x8"

Ballpoint Pen on Paper
8x10"

Two backlit objects on a windowsill. Focusing on notions of chiaroscuro (patterns of light and dark) and on negative space.

Colored Pencil on Paper
8x10"

These two pieces are based on Dürer's "Adoration of the Magi" along with the style of contemporary illustrator Stephanie Carter. The first image is a drawing abstracting the compositional forms in "Adoration of the Magi" through the use of Carter's style, whereas the second image is based upon a further abstraction of the first image.

Colored Pencil on Paper
10x10"

Acrylic on Illustration Board
22x30"

Two pieces, both based on portraiture and color theory, but the first piece focusing on the former and the second piece focusing on the latter. The second, in particular, is based on Johannes Itten's theories of color contrast, exploring several forms of contrast as detailed by Itten.

Collage, Acrylic on Illustration Board
18x14"

Acrylic on Illustration Board
7x5"

Experimentations with stylization- the illusion of water (with inspiration from Picasso's "Guernica,") and the illusion of the face through fabric.

Wax Crayon on Cardboard
22x30"

Scratchboard
5x7"