drip studio

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  Untitled Styrofoam 2005 This piece is a playful exploration in taking an ordinary material in a standard rectilinear shape and giving it something on the organic side.
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  No Rods… Cast Iron 2004 I went sort of cone crazy during 2004 and early 2005. They are all hollow and open on both ends making each of them like a super-heavy funnel or blow horn. The concept came mostly from a mental riff on communication and conduit symbology.
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  Ode to Jean Arp Wax 2005 Not to go all modern art on you, but if you know Arp’s work, this one is pretty self-explanatory.
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  Cones 16, 17 & 18 Wax 2005 Again, cone fixation. The wax versions have thinner walls than their cast iron counterparts. I think the choice of media reflects a little relaxation as wax has a certain amount of flexibility when warmed, and a super amount of flexibility when melted. Today this wax is cones, tomorrow it may become something entirely different. Sort of refreshing, no?
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  My Place in the Universe Loom-woven 30-Guage Wire 2003 I love metal and [almost] all processes related to metal. When I began to learn to weave, I found I couldn’t make that major jump from hard materials like bronze to soft materials like yarn. Wire was the obvious choice for me. This particular weave took about 1500 feet of wire. This wire, by the way, knots worse than hair. Like big, copper wire dreadlocks.
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  Quarter-Cross Cast Bronze 2004 I can’t explain this one without going into some rather personal issues with a major world religion.
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  The Retreat Cast Bronze, Redwood 2001 This image is from about 1997 at the time my world was turned upside-down when I was pink-slipped from a major computer company. The Retreat is where you go in your mind when things look bleak to you. It’s a safe haven, but it’s also a prison.
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  No Cast Bronze, Stainless Steel 1999 No is my first larger bronze piece. It’s clumsy in its execution and the idea behind it wasn’t clear to me until it was done hanging in the gallery. The short version is that I was taking pot shots at the ideal female figure showing her to be all show but nothing inside in her quest to be perfect. Don’t worry, I’ve seen a therapist for that.
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  Untitled Fabricated Steel 2003 I had been working in these heavy, rather voluminous forms for some time and wanted a departure from that oppressiveness. This, coincidentally, was about the same period during which I discovered one could weave 30-guage wire on a loom.
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  Untitled Steel 2004 Ah, simplicity.
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  The Toaster Wax 2002-2004 This piece began its life with much greater aspirations. Originally, back in 2002, it was twice that size and one of three parts that were to go together to make one very large bronze sculpture. It didn’t work out. The Toaster languished on a shelf in the foundry where I work gathering dust for a considerable amount of time before I took pity on it, cleaned it up and sought to give it its own identity. The name comes from a woman called Sara who was working in the studio that day who cocked her head sideways, said "I like it," then paused, cocked her head the other way and said, "It looks rather like a toaster."
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  Cones 4, 5, & 6-Dressed Cast Iron 2004-2005 These are my favorite three cast iron cones from the fifteen I cast at the 2004 SJSU Iron Pour. In an experimental phase, I had taken a particular liking to white spandex for the very reason women do not like white spandex-it shows everything. Every bump, blemish and pooch. Looks good on the cones though.
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  Cone 20 Wax 2005 Of all the wax cones I did, this is the only one I cast in bronze. (I’ll post an image of the bronze one when it’s all cleaned up.) The rip clear up the side is really important in a way I can’t quite identify just yet. You can e-mail me with suggestions.
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  Tick-Tock 2001 Bronze, Redwood That’s 140 unique, individually cast wisteria pods and about 100 blocks of cut, recycled redwood.

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