Installation Senyals - Yellow Spiral Montseny
2011, Multiple piece installation, Plaça de la Creu, Sant Pere De Vilamajor,
Barcelona, Spain
The word Senyals in the catalan language means signs but also could be identified with symbols. The site for these sculptures is a medieval plaza near Barcelona. The square is home to artifacts, signs and symbols of many time periods, interacting with each other. I was struck by their unintended juxtaposition; they seemed to create new and unintended meanings. The series of 6 different sculptures created for this site are 3D geometric marks drawn over the Plaza enveloping buildings and landscape, crosses, churches, cemeteries, and mountains implying meaning as they interact. As one passes through the plaza the generic geometric “symbols” invite the viewer to assign their own personal meanings, symbolism and visual metaphor.
This series of sculptures was created using local Bamboo and paint. Vertical members were left natural to visually dissolve into the landscape while the horizontal painted members create drawings in space. The structures were built in a similar manner as Spanish farms build supports for tomato plants relating the structures to the context of the site.
Being temporal in nature the sculptures are evolving over time becoming one with a landscape filled with artifacts from past that have blended into the landscape for centuries.
Red Squares (Steel) - Pic. 3
2003, Steel 12’X30’X3’ Onondaga Community College, Syracuse NY
Red Squares is a piece that intends to explore the interaction between our position in space and its effects on our perceptions of our own visual field. The 3 squares seek to dissolve into an abstract set of boundaries, creating up to 5 rectangles that change size and shape in relation to the changing location of the viewer. A completely regular item, the square, repeated in a completely regular pattern produces a spectacle that is always changing and never regular. These constantly changing frames force us to examine the way our context shapes what we choose to see by exerting a new factor on our observations.
The site was a defined walkway and presents a stage on which we can examine these interactions. In today’s world we are in constant motion our world is viewed while we are in transit. Public sculpture is usually viewed in passing as a whole of the scenery. Red Squares was designed to be viewed in passing.
Installation Senyals - Sacred Space
2011, Multiple piece installation, Plaça de la Creu, Sant Pere De Vilamajor,
Barcelona, Spain
The word Senyals in the catalan language means signs but also could be identified with symbols. The site for these sculptures is a medieval plaza near Barcelona. The square is home to artifacts, signs and symbols of many time periods, interacting with each other. I was struck by their unintended juxtaposition; they seemed to create new and unintended meanings. The series of 6 different sculptures created for this site are 3D geometric marks drawn over the Plaza enveloping buildings and landscape, crosses, churches, cemeteries, and mountains implying meaning as they interact. As one passes through the plaza the generic geometric “symbols” invite the viewer to assign their own personal meanings, symbolism and visual metaphor.
This series of sculptures was created using local Bamboo and paint. Vertical members were left natural to visually dissolve into the landscape while the horizontal painted members create drawings in space. The structures were built in a similar manner as Spanish farms build supports for tomato plants relating the structures to the context of the site.
Being temporal in nature the sculptures are evolving over time becoming one with a landscape filled with artifacts from past that have blended into the landscape for centuries.
Five Red Squares (steel) - Winter
2004, Steel 9’X36’X4’
Five Red Squares was designed to be as a kinetic experience with a continuously changing composition of squares and oriented with shadows that change direction with the passing of the day and change in length with the time of year.
Red Squares (Steel) - Pic 4
2003, Steel 12’X30’X3’ Onondaga Community College, Syracuse NY
Red Squares is a piece that intends to explore the interaction between our position in space and its effects on our perceptions of our own visual field. The 3 squares seek to dissolve into an abstract set of boundaries, creating up to 5 rectangles that change size and shape in relation to the changing location of the viewer. A completely regular item, the square, repeated in a completely regular pattern produces a spectacle that is always changing and never regular. These constantly changing frames force us to examine the way our context shapes what we choose to see by exerting a new factor on our observations.
The site was a defined walkway and presents a stage on which we can examine these interactions. In today’s world we are in constant motion our world is viewed while we are in transit. Public sculpture is usually viewed in passing as a whole of the scenery. Red Squares was designed to be viewed in passing.
Ceramic Mural 2
1993, 12” X 280’, Onondaga Community College, Syracuse NY
Designed as a frieze for a soffit bordering the cafeteria in the Gordon Student Center at Onondaga Community College. The frieze consisted of 12 modules or individual compositions, each separated by a vertical texture. With the modules inverted there were 24 individual compositions which when viewed did not repeat within the field of vision of the viewer giving the experience of 280 one of a kind panels.
The mural was created in 1993 and demolished in 2010 in a remodeling of the building where it was permanently mounted.
Five Red Squares (steel) - Spring
2004, Steel 9’X36’X4’
Five Red Squares was designed to be as a kinetic experience with a continuously changing composition of squares and oriented with shadows that change direction with the passing of the day and change in length with the time of year.
Ceramic Mural
1999, 28” X 50’, Ajuntament de Cannovellas, Cannovellas, Spain
Mural Created for the Ajutament of Cannovellos Spain. A repeating frieze of 14”square tiles lining a passageway. Inspired by archeological pieces on display.
Five Red Squares (steel)
2004, Steel 9’X36’X4’ St. Davids Church, Dewitt, NY
Five Red Squares was designed to be as a kinetic experience with a continuously changing composition of squares and oriented with shadows that change direction with the passing of the day and change in length with the time of year.
Drawing in Air
2010, Yellow Circles, Multiple Locations
I am inspired by the possibilities of what I see around me. My images and forms are inspired by the traces of human lives, ceramic forms, natural forces, and the architectures of nature. Rather than recreating the image of a landscape like a painter, I invert the actual landscape into a drawing by applying graphic images. I use geometric interventions in the landscape, suggestive of both ancient and contemporary artifacts, to engage the viewer as an active participant. The view itself becomes the object of my work and, because of that, each viewer is able to interpret and assign their own meaning. Simple materials contribute to the intrinsic value of the image, because the graphic marks and symbols they make supersede their own materiality and meaning. Instead of the materials used, the location, topography, and geology of their surroundings become the medium of the artwork. I prefer to focus on these items and how they interact with the sun and time to constantly present an evolving piece of art to the viewer, where the art itself becomes the artist.
Red Squares (Steel) - Pic. 2
2003, Steel 12’X30’X3’ Onondaga Community College, Syracuse NY
Red Squares is a piece that intends to explore the interaction between our position in space and its effects on our perceptions of our own visual field. The 3 squares seek to dissolve into an abstract set of boundaries, creating up to 5 rectangles that change size and shape in relation to the changing location of the viewer. A completely regular item, the square, repeated in a completely regular pattern produces a spectacle that is always changing and never regular. These constantly changing frames force us to examine the way our context shapes what we choose to see by exerting a new factor on our observations.
The site was a defined walkway and presents a stage on which we can examine these interactions. In today’s world we are in constant motion our world is viewed while we are in transit. Public sculpture is usually viewed in passing as a whole of the scenery. Red Squares was designed to be viewed in passing.
Five Red Squares (steel)
2004, Steel 9’X36’X4’ Law Offices, Media, PA
Five Red Squares was designed to be as a kinetic experience with a continuously changing composition of squares and oriented with shadows that change direction with the passing of the day and change in length with the time of year.
Drawing in Air
2010 Painted Trunks, Lipe Art Park, Syracuse NY
I am inspired by the possibilities of what I see around me. My images and forms are inspired by the traces of human lives, ceramic forms, natural forces, and the architectures of nature. Rather than recreating the image of a landscape like a painter, I invert the actual landscape into a drawing by applying graphic images. I use geometric interventions in the landscape, suggestive of both ancient and contemporary artifacts, to engage the viewer as an active participant. The view itself becomes the object of my work and, because of that, each viewer is able to interpret and assign their own meaning. Simple materials contribute to the intrinsic value of the image, because the graphic marks and symbols they make supersede their own materiality and meaning. Instead of the materials used, the location, topography, and geology of their surroundings become the medium of the artwork. I prefer to focus on these items and how they interact with the sun and time to constantly present an evolving piece of art to the viewer, where the art itself becomes the artist.
Drawing in Air
2010, Circle in Blue, Multiple Locations
I am inspired by the possibilities of what I see around me. My images and forms are inspired by the traces of human lives, ceramic forms, natural forces, and the architectures of nature. Rather than recreating the image of a landscape like a painter, I invert the actual landscape into a drawing by applying graphic images. I use geometric interventions in the landscape, suggestive of both ancient and contemporary artifacts, to engage the viewer as an active participant. The view itself becomes the object of my work and, because of that, each viewer is able to interpret and assign their own meaning. Simple materials contribute to the intrinsic value of the image, because the graphic marks and symbols they make supersede their own materiality and meaning. Instead of the materials used, the location, topography, and geology of their surroundings become the medium of the artwork. I prefer to focus on these items and how they interact with the sun and time to constantly present an evolving piece of art to the viewer, where the art itself becomes the artist.
Drawing in Air
2010, Flight with Shadows, Multiple Locations
I am inspired by the possibilities of what I see around me. My images and forms are inspired by the traces of human lives, ceramic forms, natural forces, and the architectures of nature. Rather than recreating the image of a landscape like a painter, I invert the actual landscape into a drawing by applying graphic images. I use geometric interventions in the landscape, suggestive of both ancient and contemporary artifacts, to engage the viewer as an active participant. The view itself becomes the object of my work and, because of that, each viewer is able to interpret and assign their own meaning. Simple materials contribute to the intrinsic value of the image, because the graphic marks and symbols they make supersede their own materiality and meaning. Instead of the materials used, the location, topography, and geology of their surroundings become the medium of the artwork. I prefer to focus on these items and how they interact with the sun and time to constantly present an evolving piece of art to the viewer, where the art itself becomes the artist.
Zig Zag
2012, Straw Bales, 120’X4’X40’ Stone Quarry Hill Art Park, Cazenovia New York
This installation consists of large cylindrical bundles of straw arranged in a long angular mark. These bundles create a clean geometric drawing overlaid on the irregularities of the local topography. The straw bales deteriorate over time, as new types of plants re-colonize their space an artifact of the original remains. It addresses the changes and evolution in nature in response to both natural and manmade intervention.
3x3
(Straw Bales) 2012 110’X4’X30’ Stone Quarry Hill Art Park, Cazenovia New York
This installation consists of large cylindrical bundles of straw arranged in 3 parts. The regular and predictable pattern is inspired by the regular geometries experienced in nature such as geese in flight, the wake of a boat on water or the regular march of thunder as it approaches and then recedes. It speaks to the interplay between natural rhythms and organic chaos always present in nature.
Flight
2012, Painted Maple Trunks, 12’X90’X22’ Rosamond Gifford Zoo, Syracuse, NY
The installation, Flight, is inspired by birds in flight and is at home in the Zoo in sight of the Bird Demonstration area. It is constructed out of tree trunks, reflecting the natural habitat of birds. Suspended above a series of natural surfaced tree trunks which dissolve into the background are another group of trunks painted red and configured into a series of inclined rectangles. These red shapes become three dimensional drawings in the air which overlap and interact with the changing perspective of the viewer as they pass by to create a constantly active geometry like the flapping of wings. The transparency between them also refers to the open and invisible quality of the flight of birds.
Flight
2012, 90’X300’X20’ Stone Quarry Hill Art Park, Cazenovia New York
In the installation White Stripes, tree trunks have been wrapped with a white material. The wraps are carefully sized and placed to flatten the dimensional character of the outdoor space into a graphic image. The flattening of space changes with the perspective of the viewer, creating a visual image that constantly fluctuates between real and illusion, fact and image. An image of trees is no longer just an experience taken for granted, but a conscious interaction with one’s own environment.
White Stripes
2012, 90’X300’X20’ Stone Quarry Hill Art Park, Cazenovia New York
In the installation White Stripes, tree trunks have been wrapped with a white material. The wraps are carefully sized and placed to flatten the dimensional character of the outdoor space into a graphic image. The flattening of space changes with the perspective of the viewer, creating a visual image that constantly fluctuates between real and illusion, fact and image. An image of trees is no longer just an experience taken for granted, but a conscious interaction with one’s own environment.
Changes
2012, Straw Bedding Bales, 2’X15’X75’, Rosamond Gifford Zoo, Syracuse, New York
Changes is an installation of straw bales laid out to form 3 large ovals. The straw forms drawn on the landscape are graphic marks that provide a point of reference for experiencing the shape of the hill and surrounding topography. Straw has been chosen because it is ephemeral; it will only last long enough to instigate an interaction with the landscape before it is transformed by time and the deer living with it. The deer that live with the sculpture themselves help to accelerate the changes caused by time and transform the piece away from the artist’s initial act. The original marks become an archaeological artifact that gives the viewer a frame of reference for judging a sculpture made by the deer themselves and results in something totally beyond the intent of the artist.
Luna Plena
9ft X 5ft
Constructed from tree trunks and paint. It was inspired by the full moon viewed through a forest bat night. The shadows tonalities of the painted wood create a somewhat translucent image like the experience of viewing the full moon.
Continuance (in Progress)
Fieldstone Catenary arch. Onondaga Community College, Syracuse, NY
9'X10'X3.5'