biophilic art and design™ specialist
The Phoenix
WWII Memorial
Urban Eden
GRM Garden
The Opponents
Sarvodaya Garden
La Puerta
The Guardians
Rainstones
Origins
Cancer Center Video
My Brother's Keeper
Health Matters
Rillito River Seating
Sabino Canyon Sisters
Communion Table
Vlock Memorial
Longley-Cook Memorial
Centennial Garden
Marriage of the Pines
Midsummer Night's Dream
9/11 Memorial Finalist
Treasures of the Heart
Armillary
View All
sculpture
Balance
david and goliath
10" x 22" x 5"
bronze, leather, stone
fragments of t ime
bronze, wood
Three graces
11" x 4" x 2"
bronze
writing on the wall
16' x 22" x 6"
bronze cast fish, stainless teel
4' x 3' x 6'
wood, oil paint
temptation of christ
16" x 18" x 12"
bronze, steel, marble
Memorial Sculpture
22"x16"
bronze
lion of judah
8" x 11" x 6"
bronze
24" x 14" x14"
In Daniel 5, a king is warned of his demise through a mysterious writing of a decree on the palace wall – without human assistance. The writing proclaims the king’s imminent death as judgment for offering praise to pagan gods. So, too, it is our lives and the actions of our lives that write history and bring future judgment. To symbolize humans and our actions in life, fish from a local market were cast in bronze and arranged on the wall to cast a shadow. The sculptures and their shadows write a form of history, a mark on the wall that records actions and placement. Likewise, every step we take is somehow recorded in time and space and will be evidence of our actions in this life.
1
seven deadly sins - seven deaths
9' x 18" x 16"
bronze
clay vessels
the messengers
8' x 5' x 16"
bronze, wood, steel
detained
9' 4" x 2' x 16"
reclaimed wood, fabric, metal, found objects
lazarus
3" x 9" wall sculpture
bronze and gold leaf
nine
Luke 17:11-19
In this passage, Jesus heals ten lepers. Yet, only one returned to thank Him. The question this piece poses is where are the other nine lepers. Because there is only one figure in the bronze, it shows what is missing from the scene.
18" x 8.5"
bronze
the agreement
4'8" x 5' x 3'
wood, steel, oil paint
Seven snapper fish heads from a local fish market were cast in bronze to symbolize the Christian faith and the concept of the Catholic church’s list of seven deadly sins. In Romans 6:23, the apostle Paul writes, “For the wages of sin is death, but the gift of God is eternal life in Christ Jesus our Lord.”
The Seven Sins: Pride, Greed, Lust, Envy, Gluttony, Wrath, Sloth
The Seven Deaths: Dragging, Shooting, Acid, Drowning, Burning, Hanging, Burying
This piece was a study of the character traits related to messengers of God or angels. Messengers of God must be valiant warriors, able to fight and defend the earth and its inhabitants. Second, an angel must be like a little child in their trust and submission to have a faithful and true character as a servant of God. The bronze represents the spiritual armor an angel must wear – the breastplate represents a young child’s body, while the armor is molded from enduring metal material.
Romans 8:31-39
Detained represents the many obstacles we face and the spiritual and material aspects that attach to us and try to detract us from spiritual maturity. Yet, as we overcome the difficulties, we stand majestically
John 11
The “Lazarus” study seeks to understand how to translate biblical ideas into material form. Interest in healing always seems to evoke elements of intense energetic transference. Gold symbolizes the eternal and is a traditional use of the material for spiritual and theistic topics.
While the story of Lazarus explains how Christ called Lazarus from the grave after four days, it remains a mystery as to how a person who was dead comes back to life. Yet, without knowing exactly how, one can have faith that it is possible.
This piece is cut so that each section of wood rests in balance without adhesives or pins. It is a symbolic representation of our unspoken agreements of space and distance we occupy during human interactions.
wood-fired, gas kiln vessels
2
attachments
5'6" x 16' x 12"
reclaimed wood, oil pigment, steel
heaven and hell
4" x 6" x 1/2"
bronze and gold leaf
sparrow
3" x 5" x 3.5"
bronze, bird carcass, leather, silk, steel
bronze bowl
16" (diameter)
Bowl selected from the Waiting for Manna installation - consists of 12 bronze bowls cast in different sizes, each representing the variety in “portions” community members require to sustain life.
waiting for manna (installation)
22' x 6' x 10"
burnt wood, 12 cast bronze bowls
cocoon I
6' x 3' x 3.5'
maple wood, wood glue
cocoon II
6' x 3' x 30"
maple wood, wood glue
vessel
9'6" x 16" x 12"
wood, steel, encaustic, fabric
“And the angels will throw them into the fiery furnace, where there will be weeping and gnashing of teeth.” Matthew 13:42 NLT
Heaven and Hell developed from a series on iconography and reflections on Judeo–Christian scripture as a viable source of text for academic and artistic exploration. When considering concepts as vast as heaven and hell, questions are Where are heaven and hell located? What is the scale (dimensions) of heaven and hell? Is one above the other, below the other, how far apart are they? The bronze pieces in this sculpture are gold-leafed and as small as the palms of our hands to symbolize how precious we – as humans- think our ideas of heaven and hell are. Before casting, I bit into the wax to represent the gnashing of teeth – you can see the teeth marks very clearly in the finished cast.
“Are not two sparrows sold for a penny? Yet not one of them will fall to the ground outside your Father's care. And even the very hairs of your head are all numbered. So don't be afraid; you are worth more than many sparrows.” Matthew 10:29-31 New International Version (NIV)
Sparrow developed from a series of iconography and reflections on Judeo–Christian scripture as a viable source of text for academic and artistic exploration. I found this sparrow as I was walking – it had been killed by sitting on an electrical wire. As I picked up the small lifeless body, I thought about the scripture in Matthew 10 that says the heavenly Father sees and cares for the sparrows – so I cast the carcass in bronze as a permanent reminder of how precious life is and how much we are valued.
Exodus 16:11-31
The passage in Exodus, which tells the story of the Israelites in the desert, waiting for food from heaven, is an ancient but relevant account of trust in God, letting go of fear, and not falling into the common trap of comparison. Each bronze bowl in this piece was a different scale – some small and some larger- to represent that our needs are different. To assume so and take more than they needed resulted in pestilence, mold, and rotting away any stored food. In this case, it is a complicated social construct only to gather what you need while trusting in a God you cannot see or hear to meet one’s needs in life-or-death situations.
From waiting for manna (installation)
vessel
9'6" x 16" x 12"
wood, steel, encaustic, fabric
3
artifacts
The Eyes of St. Paul
Relic from the flood
5" x 5" x 6"
bronze, leather, steel, rubber
Eve
12" x 7" x 5"
bronze, gold leaf, silk, velvet
In Remembrance of me (installation)
6' x 4' x 36"
reclaimed wood, bronze, velvet, satin
How then shall we live
How Then Shall We Live reflects and inquires into how most individuals interpret the Ten Commandments as a list of “Don’ts.” It also speaks to some common fallacies in historical depictions of Moses receiving the guidelines for living from God on Mount Sinai. For example, this piece uses Roman numerals, as do many pictorial descriptions of the event, yet Moses would not have been writing in Roman numerals in 1290 B.C.E. in ancient Egypt.
12' x 12"
bronze, gold leaf
fallen angel
9" x 5"
bronze and gold leaf
“Artifacts” from the iconography series, questions our human propensity to be enamored with artifacts and relics from the past, sometimes elevating their status to spiritual power objects.
“A Relic from the Flood” from the iconography series, questions our human propensity to want to own and condense cataclysmic and historical events into a small, manageable artifact. The irony of this piece is that if a person believes there was a global flood, everything around us in nature is a relic from the flood and cannot be contained in a box or museum.
“Eve,” from the iconography series, challenges the concept of goddess worship and the Venus of Willendorf goddess objects as the “first” form of female worship or “mother goddess” object of fertility.
Luke: 10:27
And he answered, “You shall love the Lord your God with all your heart and with all your soul and with all your strength and with all your mind, and your neighbor as yourself.”
As part of a larger body of work, “In Remembrance of Me” came at a time when Pope John Paul’s call to the eucharist was popular—evangelistic, garnishing the world’s attention.
Central to the Catholic faith is the Mass. In the protestant faith, communion usually only occurs once a month and can sometimes appear to be more of an obligation than an intimate moment with Christ.
In this installation depicting Christ's last supper, the twelve disciples disappeared, and Jesus offered me a personal invitation to an intimate meal. Creating this piece was a time of introspection, acknowledgment of my shortcomings, and intimacy with this great exchange.
“The Eyes of St. Paul” from the iconography series questions the purpose and value of the veneration of relics of saints or spiritual leaders.
16" x 3" x 5" (two pieces)
bronze and steel
vessel ii
9" x 5"
oak, frankincense, myrrh, cinnamon, casias
16" x 4" x 3"
steel, bronze
4
aubrey
5'4" x 16" x 14"
oak, cherry, rubber
Rapture
6'3" x 4' x 6"
mixed media on board
9" x 4"
Rapture is a material and physical exploration of many questions surrounding the event of the “Rapture.” What does it mean to be taken up with multitudes of people? What will it mean to be left behind? It seems messy and quite complicated. Rapture depicts a moment during slumber when souls are suddenly awakened to begin an unfamiliar journey.
“Then we who are alive and remain will be caught up together with them in the clouds to meet the Lord in the air, and so shall always be with the Lord. Therefore comfort one another with these words.” Matthew 24:40: “Two men will be in the field; and one will be taken and the other left.”
bronze vessel
bronze
crucifix
bronze
22" x 14" (diameter)
5
Balance
david and goliath
10" x 22" x 5"
bronze, leather, stone
fragments of t ime
bronze, wood
Three graces
11" x 4" x 2"
bronze
writing on the wall
16' x 22" x 6"
bronze cast fish, stainless teel
4' x 3' x 6'
wood, oil paint
temptation of christ
16" x 18" x 12"
bronze, steel, marble
Memorial Sculpture
22"x16"
bronze
lion of judah
8" x 11" x 6"
bronze
24" x 14" x14"
In Daniel 5, a king is warned of his demise through a mysterious writing of a decree on the palace wall – without human assistance. The writing proclaims the king’s imminent death as judgment for offering praise to pagan gods. So, too, it is our lives and the actions of our lives that write history and bring future judgment. To symbolize humans and our actions in life, fish from a local market were cast in bronze and arranged on the wall to cast a shadow. The sculptures and their shadows write a form of history, a mark on the wall that records actions and placement. Likewise, every step we take is somehow recorded in time and space and will be evidence of our actions in this life.
1
seven deadly sins - seven deaths
9' x 18" x 16"
bronze
clay vessels
Seven snapper fish heads from a local fish market were cast in bronze to symbolize the Christian faith and the concept of the Catholic church’s list of seven deadly sins. In Romans 6:23, the apostle Paul writes, “For the wages of sin is death, but the gift of God is eternal life in Christ Jesus our Lord.”
The Seven Sins: Pride, Greed, Lust, Envy, Gluttony, Wrath, Sloth
The Seven Deaths: Dragging, Shooting, Acid, Drowning, Burning, Hanging, Burying
wood-fired, gas kiln vessels
the messengers
8' x 5' x 16"
bronze, wood, steel
detained
9' 4" x 2' x 16"
reclaimed wood, fabric, metal, found objects
lazarus
3" x 9" wall sculpture
bronze and gold leaf
nine
Luke 17:11-19
In this passage, Jesus heals ten lepers. Yet, only one returned to thank Him. The question this piece poses is where are the other nine lepers. Because there is only one figure in the bronze, it shows what is missing from the scene.
18" x 8.5"
bronze
the agreement
4'8" x 5' x 3'
wood, steel, oil paint
This piece was a study of the character traits related to messengers of God or angels. Messengers of God must be valiant warriors, able to fight and defend the earth and its inhabitants. Second, an angel must be like a little child in their trust and submission to have a faithful and true character as a servant of God. The bronze represents the spiritual armor an angel must wear – the breastplate represents a young child’s body, while the armor is molded from enduring metal material.
Romans 8:31-39
Detained represents the many obstacles we face and the spiritual and material aspects that attach to us and try to detract us from spiritual maturity. Yet, as we overcome the difficulties, we stand majestically
John 11
The “Lazarus” study seeks to understand how to translate biblical ideas into material form. Interest in healing always seems to evoke elements of intense energetic transference. Gold symbolizes the eternal and is a traditional use of the material for spiritual and theistic topics.
While the story of Lazarus explains how Christ called Lazarus from the grave after four days, it remains a mystery as to how a person who was dead comes back to life. Yet, without knowing exactly how, one can have faith that it is possible.
This piece is cut so that each section of wood rests in balance without adhesives or pins. It is a symbolic representation of our unspoken agreements of space and distance we occupy during human interactions.
2
attachments
5'6" x 16' x 12"
reclaimed wood, oil pigment, steel
heaven and hell
4" x 6" x 1/2"
bronze and gold leaf
“And the angels will throw them into the fiery furnace, where there will be weeping and gnashing of teeth.” Matthew 13:42 NLT
"Heaven and Hell" developed from a series on iconography and reflections on Judeo–Christian scripture as a viable source of text for academic and artistic exploration. When considering concepts as vast as heaven and hell, questions are Where are heaven and hell located? What is the scale (dimensions) of heaven and hell? Is one above the other, below the other, how far apart are they? The bronze pieces in this sculpture are gold-leafed and as small as the palms of our hands to symbolize how precious we – as humans- think our ideas of heaven and hell are. Before casting, I bit into the wax to represent the gnashing of teeth – you can see the teeth marks very clearly in the finished cast.
sparrow
3" x 5" x 3.5"
bronze, bird carcass, leather, silk, steel
bronze bowl
16" (diameter)
Bowl selected from the Waiting for Manna installation - consists of 12 bronze bowls cast in different sizes, each representing the variety in “portions” community members require to sustain life.
waiting for manna (installation)
22' x 6' x 10"
burnt wood, 12 cast bronze bowls
cocoon I
6' x 3' x 3.5'
maple wood, wood glue
cocoon II
6' x 3' x 30"
maple wood, wood glue
vessel
9'6" x 16" x 12"
wood, steel, encaustic, fabric
“Are not two sparrows sold for a penny? Yet not one of them will fall to the ground outside your Father's care. And even the very hairs of your head are all numbered. So don't be afraid; you are worth more than many sparrows.” Matthew 10:29-31 New International Version (NIV)
"Sparrow" developed from a series of iconography and reflections on Judeo–Christian scripture as a viable source of text for academic and artistic exploration. I found this sparrow as I was walking – it had been killed by sitting on an electrical wire. As I picked up the small lifeless body, I thought about the scripture in Matthew 10 that says the heavenly Father sees and cares for the sparrows – so I cast the carcass in bronze as a permanent reminder of how precious life is and how much we are valued.
Exodus 16:11-31
The passage in Exodus, which tells the story of the Israelites in the desert, waiting for food from heaven, is an ancient but relevant account of trust in God, letting go of fear, and not falling into the common trap of comparison. Each bronze bowl in this piece was a different scale – some small and some larger- to represent that our needs are different. To assume so and take more than they needed resulted in pestilence, mold, and rotting away any stored food. In this case, it is a complicated social construct only to gather what you need while trusting in a God you cannot see or hear to meet one’s needs in life-or-death situations.
From waiting for manna (installation)
vessel
9'6" x 16" x 12"
wood, steel, encaustic, fabric
3
artifacts
The Eyes of St. Paul
Relic from the flood
5" x 5" x 6"
bronze, leather, steel, rubber
“Artifacts” from the iconography series, questions our human propensity to be enamored with artifacts and relics from the past, sometimes elevating their status to spiritual power objects.
“A Relic From the Flood” from the iconography series, questions our human propensity to want to own and condense cataclysmic and historical events into a small, manageable artifact. The irony of this piece is that if a person believes there was a global flood, everything around us in nature is a relic from the flood and cannot be contained in a box or museum.
“The Eyes of St. Paul” from the iconography series questions the purpose and value of the veneration of relics of saints or spiritual leaders.
16" x 3" x 5" (two pieces)
bronze and steel
16" x 4" x 3"
steel, bronze
Eve
12" x 7" x 5"
bronze, gold leaf, silk, velvet
In Remembrance of me (installation)
6' x 4' x 36"
reclaimed wood, bronze, velvet, satin
How then shall we live
"How Then Shall We Live" reflects and inquires into how most individuals interpret the Ten Commandments as a list of “Don’ts.” It also speaks to some common fallacies in historical depictions of Moses receiving the guidelines for living from God on Mount Sinai. For example, this piece uses Roman numerals, as do many pictorial descriptions of the event, yet Moses would not have been writing in Roman numerals in 1290 B.C.E. in ancient Egypt.
12' x 12"
bronze, gold leaf
fallen angel
9" x 5"
bronze and gold leaf
“Eve,” from the iconography series, challenges the concept of goddess worship and the Venus of Willendorf goddess objects as the “first” form of female worship or “mother goddess” object of fertility.
Luke: 10:27
And he answered, “You shall love the Lord your God with all your heart and with all your soul and with all your strength and with all your mind, and your neighbor as yourself.”
As part of a larger body of work, “In Remembrance of Me” came at a time when Pope John Paul’s call to the eucharist was popular—evangelistic, garnishing the world’s attention.
Central to the Catholic faith is the Mass. In the protestant faith, communion usually only occurs once a month and can sometimes appear to be more of an obligation than an intimate moment with Christ.
In this installation depicting Christ's last supper, the twelve disciples disappeared, and Jesus offered me a personal invitation to an intimate meal. Creating this piece was a time of introspection, acknowledgment of my shortcomings, and intimacy with this great exchange.
vessel ii
9" x 5"
oak, frankincense, myrrh, cinnamon, casias
4
aubrey
5'4" x 16" x 14"
oak, cherry, rubber
Rapture
6'3" x 4' x 6"
mixed media on board
"Rapture" is a material and physical exploration of many questions surrounding the event of the “Rapture.” What does it mean to be taken up with multitudes of people? What will it mean to be left behind? It seems messy and quite complicated. Rapture depicts a moment during slumber when souls are suddenly awakened to begin an unfamiliar journey.
“Then we who are alive and remain will be caught up together with them in the clouds to meet the Lord in the air, and so shall always be with the Lord. Therefore comfort one another with these words.” Matthew 24:40: “Two men will be in the field; and one will be taken and the other left.”
crucifix
bronze
5" x 3" x 1.5"
Browse
categories
more work
