Small porcelain heads strain from the surface of a smooth white plaster plane. Beneath this glassy sheet, rough forms flow menacingly. The figures, covered with crackled glaze, appear as fossils caught in a last gesture. Eyes closed or averted, they seem absorbed in an intense private melancholy, their fragmented bodies lost to memory.
Common plumbing pipes, the interior coated with plaster, enclose carefully rendered drawings of the male nude. The images are fragments and the viewer is at first unsure about what they are seeing. Upon closer inspection, the figure comes into focus. This work brings together labor, lust and the voyeurism of the academically trained artist
The shell, the castoff home of water creatures, is mostly used to construct kitschy seaside souvenirs. This well-tread ground finds a new path when the surface of each unique interior is used to render multiple variations of spheres. The hand-held shell becomes a visual metaphor for the infinite space of the universe.
Small bird-like forms swarm a marble fireplace, providing a fleeting glimpse of an accidental intrusion of wild birds caught within a domestic space. The small bird-like forms fly across a wall and dissolve into the light, representing a vast and nearly invisible wildlife that surrounds a presumed stability.
The relief sculptures contain small sculptures, drawings and miscellaneous objects layered within the wax and plaster. They reference the tokens, marks and memories that a home accumulates and that can be lost to time and forgetfulness.
A single putto drawn in graphite falls through space pursuing an object of desire in this series of soft-edged, irregular shaped rectangular plaster panels. The putto, a chubby naked baby boy, has been a motif in art since classical times as Cupid or Eros. Unabashed, they give their bodies free play.